60 acast.com Sonic Acts https://www.sonicacts.com/ en All rights reserved Sonic Acts Interdisciplinary arts organisation in Amsterdam Taking place in Amsterdam from 5 February to 29 March 2026 – with the intensive festival weekend running from 26 February to 1 March – the Sonic Acts Biennial, 'Melted for Love' is spread across more than 80 events and 15 venues. The programme features cutting-edge performances, adventurous sound experiments, and multidisciplinary art by more than 200 international and local artists → 2026.sonicacts.com


Founded in 1994, Sonic Acts is an interdisciplinary arts organisation dedicated to exploring new developments in electronic and digital art. Today, it operates as a leading platform for residencies, publications, commissions, research, and the co-production of new works, often realised in collaboration with cultural incubators, universities, and kindred festivals worldwide.

Hosted on Acast. See acast.com/privacy for more information.

]]> Taking place in Amsterdam from 5 February to 29 March 2026 – with the intensive festival weekend running from 26 February to 1 March – the Sonic Acts Biennial, 'Melted for Love' is spread across more than 80 events and 15 venues. The programme features cutting-edge performances, adventurous sound experiments, and multidisciplinary art by more than 200 international and local artists → 2026.sonicacts.com


Founded in 1994, Sonic Acts is an interdisciplinary arts organisation dedicated to exploring new developments in electronic and digital art. Today, it operates as a leading platform for residencies, publications, commissions, research, and the co-production of new works, often realised in collaboration with cultural incubators, universities, and kindred festivals worldwide.

Hosted on Acast. See acast.com/privacy for more information.

]]> false Sonic Acts info+67b74fb8b3ef9b9a013058ac@mg-eu.acast.com 67b74fb8b3ef9b9a013058ac sonicacts https://feeds.soundcloud.com/users/soundcloud:users:160979619/sounds.rss episodic https://assets.pippa.io/shows/67b74fb8b3ef9b9a013058ac/1759327073310-dec4fad9-fce7-4753-ad8b-9fb38200305a.jpeg https://www.sonicacts.com/ Sonic Acts https://feeds.acast.com/public/shows/67b74fb8b3ef9b9a013058ac Touched by Sound: Re-imagining the Legacy of Michel Waisvisz (Part 2) Touched by Sound: Re-imagining the Legacy of Michel Waisvisz (Part 2) Mon, 24 Feb 2025 10:57:00 GMT 32:16 67bc4e7a8ee8c32c7fb4499d false https://sonicacts.com/ 67bc4e7a8ee8c32c7fb4499d 67b74fb8b3ef9b9a013058ac waisvisz-part2 full Tune in for episodes two and three of Sonic Trax, Sonic Acts' new podcast series, where we explore the organization's rich archive. Join us as we uncover the captivating stories behind the evolution of sound art and its lasting impact, bringing these insights closer to you! 


In the two-part podcast Touched by Sound: Re-imagining the Legacy of Michel Waisvisz, hosts Sève I.V. Janssen and Flavien Gillié explore the profound impact of artist, performer, and instrument maker Michel Waisvisz (1949–2008). Through personal archives, interviews with collaborators, and sounds from the Sonic Acts Archive, the duo reimagines the sonic legacy of this key figure in Amsterdam’s experimental music scene and the international arts community (notably as the director of STEIM). Waisvisz was a true trailblazer in technological art, electronic sound art, and performance!


From the moment digital technology became available, he constructed experimental instruments and software activated by bodily movements such as The Hands (1984) and Crackle Synth (1974), both pressure-sensitive, touchable devices. This podcast features his sound archives, combining personal reflections from Waisvisz and his close collaborators, testimonials from those inspired by his work today, performance fragments, and radio archives spanning the 1970s to the 2000s. This exploration highlights Waisvisz' transformative approach to turning circuits into instruments of expression and vernacular moments into timeless artworks. In this process, voices, instruments, and the environmental context converge as equals, conducting a conversation where each responds with equal significance.


The second episode continues the playful dimension in Michel Waisvisz’s work, questioning how a legacy can shape new generations, through the force of transmission, performance, and education, re-issuing key instruments, ideas or sets up by Waisvisz. The episode features interviews and recordings with collaborators and emerging artists such as Tarek Atoui, Takuro Mizuta Lippit, Ji Youn Kang, Julia Giertz, Boris Shershenkov and Görkem Arıkan.


Credit:

The Sound Archives of Touched by Sound (Part 2) originate from the archives of Michel Waisvisz, with excerpts of interviews with Kristina Andersen, Tarek Atoui, Takuro Mizuta Lippit, Ji Youn Kang, Julia Giertz, Boris Shershenkov, with recordings from rehearsals, concerts and workshops as part of Touched by Sound, Sonic Acts Biennial in March 2024. 


Artistic development: Sève I.V. Janssen

Montage and mix: Flavien Gillié

Voiceover: Leon Rogissart


Special thanks to Kristina Andersen, Tarek Atoui, Görkem Arıkan, Maud Seuntjens (Sonic Acts) and the participants of the workshop.


Sonic Acts Archive projects are supported by the Mondriaan Fonds and Cultuurloket DigitALL. Realised by Paradiso and Sonic Acts as part of New Perspectives for Action, a project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Tune in for episodes two and three of Sonic Trax, Sonic Acts' new podcast series, where we explore the organization's rich archive. Join us as we uncover the captivating stories behind the evolution of sound art and its lasting impact, bringing these insights closer to you! 


In the two-part podcast Touched by Sound: Re-imagining the Legacy of Michel Waisvisz, hosts Sève I.V. Janssen and Flavien Gillié explore the profound impact of artist, performer, and instrument maker Michel Waisvisz (1949–2008). Through personal archives, interviews with collaborators, and sounds from the Sonic Acts Archive, the duo reimagines the sonic legacy of this key figure in Amsterdam’s experimental music scene and the international arts community (notably as the director of STEIM). Waisvisz was a true trailblazer in technological art, electronic sound art, and performance!


From the moment digital technology became available, he constructed experimental instruments and software activated by bodily movements such as The Hands (1984) and Crackle Synth (1974), both pressure-sensitive, touchable devices. This podcast features his sound archives, combining personal reflections from Waisvisz and his close collaborators, testimonials from those inspired by his work today, performance fragments, and radio archives spanning the 1970s to the 2000s. This exploration highlights Waisvisz' transformative approach to turning circuits into instruments of expression and vernacular moments into timeless artworks. In this process, voices, instruments, and the environmental context converge as equals, conducting a conversation where each responds with equal significance.


The second episode continues the playful dimension in Michel Waisvisz’s work, questioning how a legacy can shape new generations, through the force of transmission, performance, and education, re-issuing key instruments, ideas or sets up by Waisvisz. The episode features interviews and recordings with collaborators and emerging artists such as Tarek Atoui, Takuro Mizuta Lippit, Ji Youn Kang, Julia Giertz, Boris Shershenkov and Görkem Arıkan.


Credit:

The Sound Archives of Touched by Sound (Part 2) originate from the archives of Michel Waisvisz, with excerpts of interviews with Kristina Andersen, Tarek Atoui, Takuro Mizuta Lippit, Ji Youn Kang, Julia Giertz, Boris Shershenkov, with recordings from rehearsals, concerts and workshops as part of Touched by Sound, Sonic Acts Biennial in March 2024. 


Artistic development: Sève I.V. Janssen

Montage and mix: Flavien Gillié

Voiceover: Leon Rogissart


Special thanks to Kristina Andersen, Tarek Atoui, Görkem Arıkan, Maud Seuntjens (Sonic Acts) and the participants of the workshop.


Sonic Acts Archive projects are supported by the Mondriaan Fonds and Cultuurloket DigitALL. Realised by Paradiso and Sonic Acts as part of New Perspectives for Action, a project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Touched by Sound: Re-imagining the Legacy of Michel Waisvisz (Part 1) Touched by Sound: Re-imagining the Legacy of Michel Waisvisz (Part 1) Mon, 24 Feb 2025 10:56:37 GMT 25:56 67bc4b8b8ee8c32c7fb395bc false https://sonicacts.com/ 67bc4b8b8ee8c32c7fb395bc 67b74fb8b3ef9b9a013058ac waisvisz-part1 full Tune in for episodes two and three of Sonic Trax, Sonic Acts' new podcast series, where we explore the organization's rich archive. Join us as we uncover the captivating stories behind the evolution of sound art and its lasting impact, bringing these insights closer to you! 


In the two-part podcast Touched by Sound: Re-imagining the Legacy of Michel Waisvisz, hosts Sève I.V. Janssen and Flavien Gillié explore the profound impact of artist, performer, and instrument maker Michel Waisvisz (1949–2008). Through personal archives, interviews with collaborators, and sounds from the Sonic Acts Archive, the duo reimagines the sonic legacy of this key figure in Amsterdam’s experimental music scene and the international arts community (notably as the director of STEIM). Waisvisz was a true trailblazer in technological art, electronic sound art, and performance!


From the moment digital technology became available, he constructed experimental instruments and software activated by bodily movements such as The Hands (1984) and Crackle Synth (1974), both pressure-sensitive, touchable devices. This podcast features his sound archives, combining personal reflections from Waisvisz and his close collaborators, testimonials from those inspired by his work today, performance fragments, and radio archives spanning the 1970s to the 2000s. This exploration highlights Waisvisz' transformative approach to turning circuits into instruments of expression and vernacular moments into timeless artworks. In this process, voices, instruments, and the environmental context converge as equals, conducting a conversation where each responds with equal significance.


The first episode centres around Michel Waisvisz as a composer of the present and combines personal recordings with an interview with the artist and researcher Kristina Andersen, the caretaker of his archives today. The episode explores Michel Waisvisz’ distinctive spirit through the textures of his archives, where every crackle and hum becomes a tactile reminder, and Kristina Andersen talks about how materiality can connect generations and offer a sense of continuity, even between those who have never met.


Please note: 

Some of the archival sounds featured in this episode include Michel Waisvisz speaking in Dutch and French. In the first excerpt (Dutch, >6:40), Michel discusses his practice, describing it as musical theatre, though acknowledging that the term does not fully capture its essence. In the second excerpt (French, >9:15), a reporter and Michel highlight how his electronic music devices generate new, futuristic, and otherworldly sounds. In the final excerpt (Dutch, >15:15), we hear Michel reflecting on an analogy between striving for a climax in music performance and the myth of Tantalus.


Credit:

The sound archives of Touched by Sound (Part 1) originate from the archives of Michel Waisvisz: Bologna 16-07-1982; Lisboa 14/15-02-1987; Bimhuis Amsterdam solo 08-09-1978; France Culture June 1987; Cologne 24-11-1978; Toklos Zurich 08-2-1986; Hands Houston 13-04-1986; various minidiscs, and excerpts of an interview with Kristina Andersen at the Bimhuis, Amsterdam, conducted on 2 March 2024.


Artistic development: Sève I.V. Janssen

Editing and mixing: Flavien Gillié

Voiceover: Leon Rogissart


Sonic Acts Archive projects are supported by the Mondriaan Fonds and Cultuurloket DigitALL. Realised by Paradiso and Sonic Acts as part of New Perspectives for Action, a project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Tune in for episodes two and three of Sonic Trax, Sonic Acts' new podcast series, where we explore the organization's rich archive. Join us as we uncover the captivating stories behind the evolution of sound art and its lasting impact, bringing these insights closer to you! 


In the two-part podcast Touched by Sound: Re-imagining the Legacy of Michel Waisvisz, hosts Sève I.V. Janssen and Flavien Gillié explore the profound impact of artist, performer, and instrument maker Michel Waisvisz (1949–2008). Through personal archives, interviews with collaborators, and sounds from the Sonic Acts Archive, the duo reimagines the sonic legacy of this key figure in Amsterdam’s experimental music scene and the international arts community (notably as the director of STEIM). Waisvisz was a true trailblazer in technological art, electronic sound art, and performance!


From the moment digital technology became available, he constructed experimental instruments and software activated by bodily movements such as The Hands (1984) and Crackle Synth (1974), both pressure-sensitive, touchable devices. This podcast features his sound archives, combining personal reflections from Waisvisz and his close collaborators, testimonials from those inspired by his work today, performance fragments, and radio archives spanning the 1970s to the 2000s. This exploration highlights Waisvisz' transformative approach to turning circuits into instruments of expression and vernacular moments into timeless artworks. In this process, voices, instruments, and the environmental context converge as equals, conducting a conversation where each responds with equal significance.


The first episode centres around Michel Waisvisz as a composer of the present and combines personal recordings with an interview with the artist and researcher Kristina Andersen, the caretaker of his archives today. The episode explores Michel Waisvisz’ distinctive spirit through the textures of his archives, where every crackle and hum becomes a tactile reminder, and Kristina Andersen talks about how materiality can connect generations and offer a sense of continuity, even between those who have never met.


Please note: 

Some of the archival sounds featured in this episode include Michel Waisvisz speaking in Dutch and French. In the first excerpt (Dutch, >6:40), Michel discusses his practice, describing it as musical theatre, though acknowledging that the term does not fully capture its essence. In the second excerpt (French, >9:15), a reporter and Michel highlight how his electronic music devices generate new, futuristic, and otherworldly sounds. In the final excerpt (Dutch, >15:15), we hear Michel reflecting on an analogy between striving for a climax in music performance and the myth of Tantalus.


Credit:

The sound archives of Touched by Sound (Part 1) originate from the archives of Michel Waisvisz: Bologna 16-07-1982; Lisboa 14/15-02-1987; Bimhuis Amsterdam solo 08-09-1978; France Culture June 1987; Cologne 24-11-1978; Toklos Zurich 08-2-1986; Hands Houston 13-04-1986; various minidiscs, and excerpts of an interview with Kristina Andersen at the Bimhuis, Amsterdam, conducted on 2 March 2024.


Artistic development: Sève I.V. Janssen

Editing and mixing: Flavien Gillié

Voiceover: Leon Rogissart


Sonic Acts Archive projects are supported by the Mondriaan Fonds and Cultuurloket DigitALL. Realised by Paradiso and Sonic Acts as part of New Perspectives for Action, a project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Sonic Trax: DJing with the Sonic Acts Archive Sonic Trax: DJing with the Sonic Acts Archive Tue, 21 Jan 2025 00:00:00 GMT 51:21 tag:soundcloud,2010:tracks/2014543779 false https://sonicacts.com/news/sonic-trax-a-new-podcast 67b74fc26f2e96290c865c3b 67b74fb8b3ef9b9a013058ac What does it mean to DJ an archive? In the debut … full What does it mean to DJ an archive? In the debut instalment of a new podcast series by Sonic Acts, junior curator Hannah Pezzack interviews Ruben Verkuylen (The Social Lover) about his DJ set from the 2024 Biennial, where he reimagined Sonic Acts archival material through turntablist techniques, sample pads, and effects. Recorded live at Het HEM and later broadcast by NTS Radio, his set drew upon a rich array of concerts, lectures, and conversations from 2003 to 2006 – a transformative era for electronic music, computing cultures, and digital art.


Discussing his process, Verkuylen reflects on pivotal technological shifts, from the work of early computer art pioneer Lillian Schwartz to the artistic possibilities of AI in the present day. Featuring snippets from his deep dive, the podcast explores what it means to remix archives as a form of collage – reinterpreting and layering history, and connecting to contemporary sound practices.


📖 – Visit our website for the show notes of this episode.


Sonic Trax: Remixing the History of Sound Art is a podcast by Sonic Acts exploring the institution's archive, which dates back to the mid-1990s. Examining creative approaches and interventions, the series reveals broader narratives about the lineage of sound art, tracing its evolution and enduring resonance.


Sonic Acts Archive projects are supported by the Mondriaan Fonds and Cultuurloket DigitALL, and realised by Paradiso and Sonic Acts as part of New Perspectives for Action, a project by Re-Imagine Europe, co-funded by the European Union.


Credit:

Recorded at Erik's house, Amsterdam

Sound design and editing by Tobias Withers


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> What does it mean to DJ an archive? In the debut instalment of a new podcast series by Sonic Acts, junior curator Hannah Pezzack interviews Ruben Verkuylen (The Social Lover) about his DJ set from the 2024 Biennial, where he reimagined Sonic Acts archival material through turntablist techniques, sample pads, and effects. Recorded live at Het HEM and later broadcast by NTS Radio, his set drew upon a rich array of concerts, lectures, and conversations from 2003 to 2006 – a transformative era for electronic music, computing cultures, and digital art.


Discussing his process, Verkuylen reflects on pivotal technological shifts, from the work of early computer art pioneer Lillian Schwartz to the artistic possibilities of AI in the present day. Featuring snippets from his deep dive, the podcast explores what it means to remix archives as a form of collage – reinterpreting and layering history, and connecting to contemporary sound practices.


📖 – Visit our website for the show notes of this episode.


Sonic Trax: Remixing the History of Sound Art is a podcast by Sonic Acts exploring the institution's archive, which dates back to the mid-1990s. Examining creative approaches and interventions, the series reveals broader narratives about the lineage of sound art, tracing its evolution and enduring resonance.


Sonic Acts Archive projects are supported by the Mondriaan Fonds and Cultuurloket DigitALL, and realised by Paradiso and Sonic Acts as part of New Perspectives for Action, a project by Re-Imagine Europe, co-funded by the European Union.


Credit:

Recorded at Erik's house, Amsterdam

Sound design and editing by Tobias Withers


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Adriana Knouf – Some Fragments of Xenology Adriana Knouf – Some Fragments of Xenology Thu, 29 Aug 2024 14:33:44 GMT 57:25 tag:soundcloud,2010:tracks/1906271375 false https://soundcloud.com/sonicacts/adriana-knouf-some-fragments-of-xenology 67b74fc6b6cab9efc4ad6600 67b74fb8b3ef9b9a013058ac Accompanied by her modular synthesiser, xenologis… full Accompanied by her modular synthesiser, xenologist scholar and artist Adriana Knouf's presentation is proposed as a love letter. Eschewing the binary logic that pervades Western thinking, Knouf argues that all beings – trans*, cis, and xeno – are in a constant process of flux and transformation, always already more-than-human. From syringes of ​oestrogen to the trajectories of satellites orbiting the Earth, she investigates ongoing and future processes of ‘xenomogrifications’ – the becoming of something else.


Following her talk, Adriana Knouf also sat down with Hannah Pezzack to talk about everything from Elon Musk and SpaceX, to fungi and making synth parts. Find the interview in the Sonic Acts Podcast series.


→ Explore more of the Sonic Acts Biennial 2024 programme


Credit:

Production: Sonic Acts

Camera: Engage! TV

Intro sound: Jessica Ekomane

Intro design: Knoth & Renner with Anja Kaiser


Part of New Perspectives for Action. A project by Re-Imagine Europe, a collaboration between Paradiso and Sonic Acts (NL), funded by Creative Europe.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Accompanied by her modular synthesiser, xenologist scholar and artist Adriana Knouf's presentation is proposed as a love letter. Eschewing the binary logic that pervades Western thinking, Knouf argues that all beings – trans*, cis, and xeno – are in a constant process of flux and transformation, always already more-than-human. From syringes of ​oestrogen to the trajectories of satellites orbiting the Earth, she investigates ongoing and future processes of ‘xenomogrifications’ – the becoming of something else.


Following her talk, Adriana Knouf also sat down with Hannah Pezzack to talk about everything from Elon Musk and SpaceX, to fungi and making synth parts. Find the interview in the Sonic Acts Podcast series.


→ Explore more of the Sonic Acts Biennial 2024 programme


Credit:

Production: Sonic Acts

Camera: Engage! TV

Intro sound: Jessica Ekomane

Intro design: Knoth & Renner with Anja Kaiser


Part of New Perspectives for Action. A project by Re-Imagine Europe, a collaboration between Paradiso and Sonic Acts (NL), funded by Creative Europe.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Imani Jacqueline Brown – Forest Islands of our Ecological Diaspora Imani Jacqueline Brown – Forest Islands of our Ecological Diaspora Fri, 23 Aug 2024 13:35:24 GMT 43:18 tag:soundcloud,2010:tracks/1902738343 false https://soundcloud.com/sonicacts/imani-jacqueline-brown-forest-islands-of-our-ecological-diaspora 67b74fcd6f2e96290c865eeb 67b74fb8b3ef9b9a013058ac In Louisiana, artist, activist, writer, and archi… full In Louisiana, artist, activist, writer, and architectural researcher Imani Jacqueline Brown uncovers Black antebellum cemeteries – portals to recover and remember Afro-diasporic ecological praxes.


Between 1820 and 1865, enslaved people were forced to clear Louisiana’s primordial forests to make way for the expansion of cane. They preserved small sections of forest where their loved ones were interred. These groves are both remnants of the erased bottomland hardwood forest and carefully stewarded microecologies – time capsules of lifeworlds that thrived against all odds in the back-a-plantations. There, enslaved people tended gardens and planted trees; organised dances and rituals; exchanged information and ideas; experimented with temporalities of freedom and plotted revolts. Today, their groves, which have survived generations of racial violence, industrial encroachment, and climate disaster, stand as the frontlines of more-than-human, intergenerational resistance to the continuum of extractivism.


24 Feb 2024

Amsterdam, Netherlands


→ Explore more of the Sonic Acts Biennial 2024 programme at 2024.sonicacts.com


Credit:

Production: Sonic Acts

Camera: Engage! TV

Intro sound: Jessica Ekomane

Intro design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> In Louisiana, artist, activist, writer, and architectural researcher Imani Jacqueline Brown uncovers Black antebellum cemeteries – portals to recover and remember Afro-diasporic ecological praxes.


Between 1820 and 1865, enslaved people were forced to clear Louisiana’s primordial forests to make way for the expansion of cane. They preserved small sections of forest where their loved ones were interred. These groves are both remnants of the erased bottomland hardwood forest and carefully stewarded microecologies – time capsules of lifeworlds that thrived against all odds in the back-a-plantations. There, enslaved people tended gardens and planted trees; organised dances and rituals; exchanged information and ideas; experimented with temporalities of freedom and plotted revolts. Today, their groves, which have survived generations of racial violence, industrial encroachment, and climate disaster, stand as the frontlines of more-than-human, intergenerational resistance to the continuum of extractivism.


24 Feb 2024

Amsterdam, Netherlands


→ Explore more of the Sonic Acts Biennial 2024 programme at 2024.sonicacts.com


Credit:

Production: Sonic Acts

Camera: Engage! TV

Intro sound: Jessica Ekomane

Intro design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Astrida Neimanis, M Murphy – Discussion with Sissel Marie Tonn Astrida Neimanis, M Murphy – Discussion with Sissel Marie Tonn Fri, 16 Aug 2024 15:32:13 GMT 54:43 tag:soundcloud,2010:tracks/1898583165 false https://soundcloud.com/sonicacts/astrida-neimanis-m-murphy-discussion-with-sissel-marie-tonn 67b74fcbb6cab9efc4ad67c8 67b74fb8b3ef9b9a013058ac Following lectures from scholars Astrida Neimanis… full Following lectures from scholars Astrida Neimanis and M Murphy at Sonic Acts Biennial 2024, both were joined on the Symposium stage by artist Sissel Marie Tonn for a conversation addressing many topics, from pollution and violence, to language, creative methods, and direct action. Guided by questions from the audience, they also address indigenous knowledge and research, discussing how to negotiate one's position within Western science and university systems, as well as direct action methods.


24 Feb 2024

Amsterdam, Netherlands


→ Explore more of the Sonic Acts Biennial 2024 programme at 2024.sonicacts.com


Credit:

Production: Sonic Acts

Camera: Engage! TV

Intro sound: Jessica Ekomane

Intro design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


The visit of Astrida Neimanis was made possible by the International Visitors Programme of the Nieuwe Instituut with support from the Netherlands Ministry of Foreign Affairs.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Following lectures from scholars Astrida Neimanis and M Murphy at Sonic Acts Biennial 2024, both were joined on the Symposium stage by artist Sissel Marie Tonn for a conversation addressing many topics, from pollution and violence, to language, creative methods, and direct action. Guided by questions from the audience, they also address indigenous knowledge and research, discussing how to negotiate one's position within Western science and university systems, as well as direct action methods.


24 Feb 2024

Amsterdam, Netherlands


→ Explore more of the Sonic Acts Biennial 2024 programme at 2024.sonicacts.com


Credit:

Production: Sonic Acts

Camera: Engage! TV

Intro sound: Jessica Ekomane

Intro design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


The visit of Astrida Neimanis was made possible by the International Visitors Programme of the Nieuwe Instituut with support from the Netherlands Ministry of Foreign Affairs.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Astrida Neimanis – Holdfast (Learning Feeling) Astrida Neimanis – Holdfast (Learning Feeling) Fri, 16 Aug 2024 15:26:57 GMT 46:30 tag:soundcloud,2010:tracks/1898579325 false https://soundcloud.com/sonicacts/astrida-neimanis-holdfast-learning-feeling 67b74fcfaf08fb18338cbb60 67b74fb8b3ef9b9a013058ac Author and researcher Astrida Neimanis gives the … full Author and researcher Astrida Neimanis gives the opening lecture at Sonic Acts Biennial 2024 Symposium. In a time of extinction and climate catastrophe, how are we to feel? Feeling intensifies, but also wavers. Feeling's temporal container pulses, its membrane now more porous: the past seeps in, the future jumps the gun. Feeling anything swims in the wake of what once was, and is burdened by what will or will not remain tomorrow. How do species-strangers care for and hold one another? What do we touch when we touch another, and what touches us back? Meditating on various instances of multispecies contact, moving from the edge of the ocean to the scientist's workbench, this talk examines the curious relationships between language and feeling, presence and absence, solid ground and being untethered at sea.


24 Feb 2024

Amsterdam, Netherlands


The lecture was followed by a Q&A session with scholar M Murphy, artist Sissel Marie Tonn, and audience members.


→ Explore more of the Sonic Acts Biennial 2024 programme at 2024.sonicacts.com


Credit:

Production: Sonic Acts

Camera: Engage! TV

Intro sound: Jessica Ekomane

Intro design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


The visit of Astrida Neimanis was made possible by the International Visitors Programme of the Nieuwe Instituut with support from the Netherlands Ministry of Foreign Affairs.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Author and researcher Astrida Neimanis gives the opening lecture at Sonic Acts Biennial 2024 Symposium. In a time of extinction and climate catastrophe, how are we to feel? Feeling intensifies, but also wavers. Feeling's temporal container pulses, its membrane now more porous: the past seeps in, the future jumps the gun. Feeling anything swims in the wake of what once was, and is burdened by what will or will not remain tomorrow. How do species-strangers care for and hold one another? What do we touch when we touch another, and what touches us back? Meditating on various instances of multispecies contact, moving from the edge of the ocean to the scientist's workbench, this talk examines the curious relationships between language and feeling, presence and absence, solid ground and being untethered at sea.


24 Feb 2024

Amsterdam, Netherlands


The lecture was followed by a Q&A session with scholar M Murphy, artist Sissel Marie Tonn, and audience members.


→ Explore more of the Sonic Acts Biennial 2024 programme at 2024.sonicacts.com


Credit:

Production: Sonic Acts

Camera: Engage! TV

Intro sound: Jessica Ekomane

Intro design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


The visit of Astrida Neimanis was made possible by the International Visitors Programme of the Nieuwe Instituut with support from the Netherlands Ministry of Foreign Affairs.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Juan Arturo García – A Minor Event in the History of Atomic Timekeeping Juan Arturo García – A Minor Event in the History of Atomic Timekeeping Fri, 09 Aug 2024 10:06:10 GMT 42:35 tag:soundcloud,2010:tracks/1893008745 false https://soundcloud.com/sonicacts/juan-arturo-garcia-a-minor-event-in-the-history-of-atomic-timekeeping 67b74fcdaf08fb18338cbb05 67b74fb8b3ef9b9a013058ac In this performative lecture, artist Juan Arturo … full In this performative lecture, artist Juan Arturo García presents his research project about a nuclear reactor in Colombia. Radioactivity, earthquakes, and applications like geochronology are used as props to explore the paradoxes of trying to visualise inaccessible phenomena. García’s translation, or poetics of displacement, taps into the present cultural, mystical, and political consequences of technological deployments in Latin America.


The lecture is followed by a Q&A session with Professor Alice Twemlow and audience members.


25 Feb 2024

Amsterdam, The Netherlands


→ Explore more of the Sonic Acts Biennial 2024 programme at 2024.sonicacts.com


Credit:

Production: Sonic Acts

Camera: Engage! TV

Intro sound: Jessica Ekomane

Intro design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> In this performative lecture, artist Juan Arturo García presents his research project about a nuclear reactor in Colombia. Radioactivity, earthquakes, and applications like geochronology are used as props to explore the paradoxes of trying to visualise inaccessible phenomena. García’s translation, or poetics of displacement, taps into the present cultural, mystical, and political consequences of technological deployments in Latin America.


The lecture is followed by a Q&A session with Professor Alice Twemlow and audience members.


25 Feb 2024

Amsterdam, The Netherlands


→ Explore more of the Sonic Acts Biennial 2024 programme at 2024.sonicacts.com


Credit:

Production: Sonic Acts

Camera: Engage! TV

Intro sound: Jessica Ekomane

Intro design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Solveig Qu Suess – Holding Rivers, Becoming Mountains Solveig Qu Suess – Holding Rivers, Becoming Mountains Wed, 31 Jul 2024 13:04:09 GMT 45:29 tag:soundcloud,2010:tracks/1885538463 false https://soundcloud.com/sonicacts/solveig-qu-suess-holding-rivers-becoming-mountains 67b74fd46f2e96290c866e67 67b74fb8b3ef9b9a013058ac Filmmaker and researcher Solveig Qu Suess traces … full Filmmaker and researcher Solveig Qu Suess traces how water, infrastructure, and documentary film intertwine. Her lecture follows the flood pulse of Southeast Asia's main river – the Mekong – since the 1990s. Construction of hydroelectric dams has caused drastic changes, reconfiguring downstream landscapes to accommodate for the expansion of plantations. Instead of being governed by the seasons, Suess tells us that the river's rhythms are now dictated by the energetic demands of distant cities. Along the banks of the Mekong, protagonists navigate a rogue river. A man measures the water every morning to monitor opaque activities from faraway dams, while a boat captain leaks information to environmental activists, and cascading rapids grow into mountains, creating both a border frontier and a new home.


The lecture is followed by a Q&A session with Professor Alice Twemlow and audience members.


25 Feb 2024

Amsterdam, The Netherlands


→ Explore more of the Sonic Acts Biennial 2024 programme at 2024.sonicacts.com


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Filmmaker and researcher Solveig Qu Suess traces how water, infrastructure, and documentary film intertwine. Her lecture follows the flood pulse of Southeast Asia's main river – the Mekong – since the 1990s. Construction of hydroelectric dams has caused drastic changes, reconfiguring downstream landscapes to accommodate for the expansion of plantations. Instead of being governed by the seasons, Suess tells us that the river's rhythms are now dictated by the energetic demands of distant cities. Along the banks of the Mekong, protagonists navigate a rogue river. A man measures the water every morning to monitor opaque activities from faraway dams, while a boat captain leaks information to environmental activists, and cascading rapids grow into mountains, creating both a border frontier and a new home.


The lecture is followed by a Q&A session with Professor Alice Twemlow and audience members.


25 Feb 2024

Amsterdam, The Netherlands


→ Explore more of the Sonic Acts Biennial 2024 programme at 2024.sonicacts.com


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Margarida Mendes – Sensorial Ecologies Margarida Mendes – Sensorial Ecologies Wed, 31 Jul 2024 13:01:58 GMT 55:32 tag:soundcloud,2010:tracks/1885537041 false https://soundcloud.com/sonicacts/margarida-mendes-sensorial-ecologies 67b74fd0b6cab9efc4ad6897 67b74fb8b3ef9b9a013058ac Researcher, educator, and curator Margarida Mende… full Researcher, educator, and curator Margarida Mendes’ lecture asks how our understanding of the environment is shaped on different scales from the way we sense, to social protocols and intergovernmental infrastructures. For Mendes, a collective sense of our surroundings is formed by practices and policies that mould our ecological pedagogies and politics, giving space (or not) to future worlds. Through her work she transmits an ontology of the sensory, starting with her experiments in listening to riverine sites that are undergoing transformation. Addressing acts of sensory co-emergence as non-linear and intertwined with ecosystems, she questions how the protocols of listening intercede with one’s relation to environmental grief, and what role the environmental humanities has in developing better ears towards the planet.


The lecture is followed by a Q&A session with curator and researcher Rachael Rakes, as well as audience members.


24 Feb 2024

Amsterdam, The Netherlands


→ Explore more of the Sonic Acts Biennial 2024 programme at 2024.sonicacts.com


Credit:

Production: Sonic Acts

Camera: Engage! TV

Intro sound: Jessica Ekomane

Intro design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Researcher, educator, and curator Margarida Mendes’ lecture asks how our understanding of the environment is shaped on different scales from the way we sense, to social protocols and intergovernmental infrastructures. For Mendes, a collective sense of our surroundings is formed by practices and policies that mould our ecological pedagogies and politics, giving space (or not) to future worlds. Through her work she transmits an ontology of the sensory, starting with her experiments in listening to riverine sites that are undergoing transformation. Addressing acts of sensory co-emergence as non-linear and intertwined with ecosystems, she questions how the protocols of listening intercede with one’s relation to environmental grief, and what role the environmental humanities has in developing better ears towards the planet.


The lecture is followed by a Q&A session with curator and researcher Rachael Rakes, as well as audience members.


24 Feb 2024

Amsterdam, The Netherlands


→ Explore more of the Sonic Acts Biennial 2024 programme at 2024.sonicacts.com


Credit:

Production: Sonic Acts

Camera: Engage! TV

Intro sound: Jessica Ekomane

Intro design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> belit sağ – Embodying the Historical belit sağ – Embodying the Historical Thu, 25 Jul 2024 15:04:51 GMT 1:00:16 tag:soundcloud,2010:tracks/1880608962 false https://soundcloud.com/sonicacts/belit-sag-embodying-the-historical 67b74fd17fd241a4ed7befaf 67b74fb8b3ef9b9a013058ac In 1978, in the Dutch towns of Veghel and Almelo,… full In 1978, in the Dutch towns of Veghel and Almelo, two groups of migrant women from Turkey were involved in simultaneous labour disputes. They asked their employers for collective agreements, regular work hours, higher pay, and holiday time. The labour-intensive work of plucking chicken feathers in Almelo and peeling onions in Veghel has been lost in institutional archives – only traces of these historical moments remain. As belit sağ illuminates, the institutional archive guides the researcher towards constructing a coherent narrative. Meanwhile, the subjects of those histories voice different realities, expressed through touch, smell, jokes, movement and gossip.


A historical analysis of the climate crisis reveals how power is concentrated on certain classes and resources. Countering such mechanisms entails actively investing in structures of collective care, repair (and reparations), centralising affected communities and their lineages, and collectively imagining nonlinearly and otherwise, also in the way the histories are reimagined through the archives. Here, the embodied surfaces as the basis of thought and action where there is a growing need to ground ourselves within our bodies, our communities, and our environments in order to connect to ourselves and beyond.


The lecture is followed by a Q&A session with Rachael Rakes and audience members.


24 February 2024

Stedelijk Museum, Amsterdam, The Netherlands


→ Explore more of the 2024 Biennial programme at 2024.sonicacts.com


Credit:

Production: Sonic Acts

Camera: Engage! TV

Design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> In 1978, in the Dutch towns of Veghel and Almelo, two groups of migrant women from Turkey were involved in simultaneous labour disputes. They asked their employers for collective agreements, regular work hours, higher pay, and holiday time. The labour-intensive work of plucking chicken feathers in Almelo and peeling onions in Veghel has been lost in institutional archives – only traces of these historical moments remain. As belit sağ illuminates, the institutional archive guides the researcher towards constructing a coherent narrative. Meanwhile, the subjects of those histories voice different realities, expressed through touch, smell, jokes, movement and gossip.


A historical analysis of the climate crisis reveals how power is concentrated on certain classes and resources. Countering such mechanisms entails actively investing in structures of collective care, repair (and reparations), centralising affected communities and their lineages, and collectively imagining nonlinearly and otherwise, also in the way the histories are reimagined through the archives. Here, the embodied surfaces as the basis of thought and action where there is a growing need to ground ourselves within our bodies, our communities, and our environments in order to connect to ourselves and beyond.


The lecture is followed by a Q&A session with Rachael Rakes and audience members.


24 February 2024

Stedelijk Museum, Amsterdam, The Netherlands


→ Explore more of the 2024 Biennial programme at 2024.sonicacts.com


Credit:

Production: Sonic Acts

Camera: Engage! TV

Design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Arjuna Neuman, Denise Ferreira da Silva – Field Notes From Soot Breath // Corpus Infinitum Arjuna Neuman, Denise Ferreira da Silva – Field Notes From Soot Breath // Corpus Infinitum Mon, 15 Jul 2024 09:34:43 GMT 52:48 tag:soundcloud,2010:tracks/1872047412 false https://soundcloud.com/sonicacts/arjuna-neuman-denise-ferreira-da-silva-field-notes-from-soot-breath-corpus-infinitum 67b74fcfaf08fb18338cbb4f 67b74fb8b3ef9b9a013058ac Moving through extended material and research fro… full Moving through extended material and research from the making of the video work 'Soot Breath // Corpus Infinitum', filmmaker Arjuna Neuman and philosopher Denise Ferreira da Silva explore their creative collaboration. The second instalment in the Elemental Cinema series, which takes up the elements to reimagine the world otherwise, 'Soot Breath // Corpus Infinitum' is a film dedicated to tenderness. Reproducing a radical sensibility learned from listening to the blues, to skin, heat, echoes, and listening itself, it reimagines the human and its subject formation away from predatory desire and lethal abstraction, which manifest as ethnography, border regimes, slavery, sexual abuse, trade, and mining. Instead, tenderness is explored as a raw material. Remembering that to be tender is to soften like supple grass, and that to attend to is to care for – to serve. Serving, we know, is the opposite of slavery, just as violence dissolves with care.


25 February 2024

Stedelijk Museum, Amsterdam, The Netherlands


→ Explore more of the 2024 Biennial programme at 2024.sonicacts.com


Credit:

Production: Sonic Acts

Camera: Engage! TV

Design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Moving through extended material and research from the making of the video work 'Soot Breath // Corpus Infinitum', filmmaker Arjuna Neuman and philosopher Denise Ferreira da Silva explore their creative collaboration. The second instalment in the Elemental Cinema series, which takes up the elements to reimagine the world otherwise, 'Soot Breath // Corpus Infinitum' is a film dedicated to tenderness. Reproducing a radical sensibility learned from listening to the blues, to skin, heat, echoes, and listening itself, it reimagines the human and its subject formation away from predatory desire and lethal abstraction, which manifest as ethnography, border regimes, slavery, sexual abuse, trade, and mining. Instead, tenderness is explored as a raw material. Remembering that to be tender is to soften like supple grass, and that to attend to is to care for – to serve. Serving, we know, is the opposite of slavery, just as violence dissolves with care.


25 February 2024

Stedelijk Museum, Amsterdam, The Netherlands


→ Explore more of the 2024 Biennial programme at 2024.sonicacts.com


Credit:

Production: Sonic Acts

Camera: Engage! TV

Design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Hira Nabi – How To Love A Tree Hira Nabi – How To Love A Tree Wed, 03 Jul 2024 08:44:02 GMT 27:25 tag:soundcloud,2010:tracks/1861580664 false https://soundcloud.com/sonicacts/hira-nabi-how-to-love-a-tree 67b74fcc6f2e96290c865ed2 67b74fb8b3ef9b9a013058ac In her live multichannel performance ‘How to Love… full In her live multichannel performance ‘How to Love a Tree’, Hira Nabi weaves together whispered narratives from sylvan landscapes, misty mountain sides, ghosts of extraction and British imperialism, inviting us into forest time. Part of an ongoing artistic project, launched in 2019, ‘How to Love a Tree’ documents the former colonial hill stations in the blue pine forests of Murree and the Galiyat region of Pakistan. Nabi sees these places as ecosystems that are crumbling, marked by a history of imperial rule. She focuses on making remnants of this painful past visible in what are now tourist destinations in the hills. Here, traces of exploitation mingle with expressions of capitalism, while the deterioration of the environment continues.


→ Explore more of the Sonic Acts Biennial 2024 programme at 2024.sonicacts.com


25 Feb 2024

Amsterdam, The Netherlands


Credit:

Production: Sonic Acts

Camera: Engage! TV

Sound logo: Jessica Ekomane

Design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> In her live multichannel performance ‘How to Love a Tree’, Hira Nabi weaves together whispered narratives from sylvan landscapes, misty mountain sides, ghosts of extraction and British imperialism, inviting us into forest time. Part of an ongoing artistic project, launched in 2019, ‘How to Love a Tree’ documents the former colonial hill stations in the blue pine forests of Murree and the Galiyat region of Pakistan. Nabi sees these places as ecosystems that are crumbling, marked by a history of imperial rule. She focuses on making remnants of this painful past visible in what are now tourist destinations in the hills. Here, traces of exploitation mingle with expressions of capitalism, while the deterioration of the environment continues.


→ Explore more of the Sonic Acts Biennial 2024 programme at 2024.sonicacts.com


25 Feb 2024

Amsterdam, The Netherlands


Credit:

Production: Sonic Acts

Camera: Engage! TV

Sound logo: Jessica Ekomane

Design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> M Murphy – Lessons from Birdsong: Land/Body Desires in the Aftermath M Murphy – Lessons from Birdsong: Land/Body Desires in the Aftermath Thu, 20 Jun 2024 15:40:18 GMT 39:11 tag:soundcloud,2010:tracks/1852859148 false https://soundcloud.com/sonicacts/m-murphy-lessons-from-birdsong-landbody-desires-in-the 67b74fdb7fd241a4ed7bf15c 67b74fb8b3ef9b9a013058ac Starlings sing new songs when they grow-up in per… full Starlings sing new songs when they grow-up in persistently polluted lands. Desires and sexualities shift. The relations of our bodies go far beyond the skin, stretching outwards to lands, waters, non-humans, ancestors, and those yet to come. We make one another in difficult conditions. What can we become? How can we dream of land-body desires when fossil fuel capitalism and colonialism continues to thrive?


Following Frantz Fanon’s example of ‘inserting invention into existence’, M Murphy brings Metis, Anishinaabe, and Haudenosaunee feminist and queer land-body relations to offer a desire-based and after-pessimism vision of anti-colonial justice.


24 February 2024

Stedelijk Museum, Amsterdam, The Netherlands


→ Explore more of the 2024 Biennial programme at 2024.sonicacts.com


Credit:

Production: Sonic Acts

Camera: Engage! TV

Design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Starlings sing new songs when they grow-up in persistently polluted lands. Desires and sexualities shift. The relations of our bodies go far beyond the skin, stretching outwards to lands, waters, non-humans, ancestors, and those yet to come. We make one another in difficult conditions. What can we become? How can we dream of land-body desires when fossil fuel capitalism and colonialism continues to thrive?


Following Frantz Fanon’s example of ‘inserting invention into existence’, M Murphy brings Metis, Anishinaabe, and Haudenosaunee feminist and queer land-body relations to offer a desire-based and after-pessimism vision of anti-colonial justice.


24 February 2024

Stedelijk Museum, Amsterdam, The Netherlands


→ Explore more of the 2024 Biennial programme at 2024.sonicacts.com


Credit:

Production: Sonic Acts

Camera: Engage! TV

Design: Knoth & Renner with Anja Kaiser


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Elvia Wilk, Sasha Litvintseva, Beny Wagner – My Want of You Partakes of Me Elvia Wilk, Sasha Litvintseva, Beny Wagner – My Want of You Partakes of Me Fri, 07 Jun 2024 15:37:39 GMT 1:19:45 tag:soundcloud,2010:tracks/1841220045 false https://soundcloud.com/sonicacts/elvia-wilk-sasha-litvintseva-beny-wagner-my-want-of-you-partakes-of-me 67b74fd1b6cab9efc4ad68c4 67b74fb8b3ef9b9a013058ac This conversation takes as its starting point Sas… full This conversation takes as its starting point Sasha Litvintseva and Beny Wagner's most recent film, 'My Want of You Partakes of Me'. The film, which was on view as part of the Sonic Acts Biennial 2024 exhibition at W139, is the third instalment of a trilogy. It proposes that digestion is a fundamental condition for organisms to be in the world, a process with physiological and psychological dimensions as well as spiritual and literary implications. Told through a nonlinear, multiperspectival narrative, the film presents a political poetics of incorporation. Here the filmmakers engage in a close dialogue with author Elvia Wilk, who writes about corporeality, decomposition, and transformation through such diverse lenses as mediaeval mysticism, horror, and science fiction. Wilk was also the editor of Litvintseva and Wagner's book 'All Thoughts Fly: Monster, Taxonomy, Film' published by Sonic Acts Press in 2021. Together the three share a deep interest in historical excavation as a means of engaging the present moment, and expand on the many meeting points between their work across genres.


25 February 2024

Stedelijk Museum, Amsterdam, The Netherlands


→ Explore more of the 2024 Biennial programme at https://2024.sonicacts.com


Credit:

Audio: Engage! TV

Production: Sonic Acts


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> This conversation takes as its starting point Sasha Litvintseva and Beny Wagner's most recent film, 'My Want of You Partakes of Me'. The film, which was on view as part of the Sonic Acts Biennial 2024 exhibition at W139, is the third instalment of a trilogy. It proposes that digestion is a fundamental condition for organisms to be in the world, a process with physiological and psychological dimensions as well as spiritual and literary implications. Told through a nonlinear, multiperspectival narrative, the film presents a political poetics of incorporation. Here the filmmakers engage in a close dialogue with author Elvia Wilk, who writes about corporeality, decomposition, and transformation through such diverse lenses as mediaeval mysticism, horror, and science fiction. Wilk was also the editor of Litvintseva and Wagner's book 'All Thoughts Fly: Monster, Taxonomy, Film' published by Sonic Acts Press in 2021. Together the three share a deep interest in historical excavation as a means of engaging the present moment, and expand on the many meeting points between their work across genres.


25 February 2024

Stedelijk Museum, Amsterdam, The Netherlands


→ Explore more of the 2024 Biennial programme at https://2024.sonicacts.com


Credit:

Audio: Engage! TV

Production: Sonic Acts


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Adriana Knouf – Interview Adriana Knouf – Interview Wed, 29 May 2024 00:00:00 GMT 39:31 tag:soundcloud,2010:tracks/1832958885 false https://soundcloud.com/sonicacts/adriana-knouf-interview 67b74fd4b3ef9b9a01305cc0 67b74fb8b3ef9b9a013058ac Writer, musician, and xenologist, Adriana Knouf i… full Writer, musician, and xenologist, Adriana Knouf is the first (known) trans artist to send artwork into outer space. Her multidisciplinary practice is inspired by, amongst many other sources, queer/feminist science-fiction, trans-activist zines from the 1970s, and The Xenofeminist Manifesto (2015) by the international collective Laboria Cuboniks. She is the founding facilitator of the tranxxenolab, ‘a nomadic artistic research laboratory that promotes entanglements among entities trans and xeno’. Knouf designs and sells synthesiser modules through her company 'selestium modular', also performing with them live under the name Selestra.


Following her lecture – 'Some Fragments of Xenology: ‘you realise that the fieldlines intersect at the unexpected moment already’ – at the Sonic Acts Biennial ‘24 symposium, Knouf sat down to talk with Hannah Pezzack. Their conversation journeys far and wide, covering everything from Elon Musk and SpaceX, to fungi and modular synthesisers.


9 March 2024

W139, Amsterdam, The Netherlands


Research: https://tranxxenolab.net/

Synth modules: https://modular.selestium.net/

Sound: https://selestra.bandcamp.com/album/d...


→ Explore more of the 2024 Biennial programme at https://2024.sonicacts.com


Credi:

Interview: Hannah Pezzack

Camera: Roman Ermolaev

Design: Knoth & Renner with Anja Kaiser

Production: Sonic Acts


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Writer, musician, and xenologist, Adriana Knouf is the first (known) trans artist to send artwork into outer space. Her multidisciplinary practice is inspired by, amongst many other sources, queer/feminist science-fiction, trans-activist zines from the 1970s, and The Xenofeminist Manifesto (2015) by the international collective Laboria Cuboniks. She is the founding facilitator of the tranxxenolab, ‘a nomadic artistic research laboratory that promotes entanglements among entities trans and xeno’. Knouf designs and sells synthesiser modules through her company 'selestium modular', also performing with them live under the name Selestra.


Following her lecture – 'Some Fragments of Xenology: ‘you realise that the fieldlines intersect at the unexpected moment already’ – at the Sonic Acts Biennial ‘24 symposium, Knouf sat down to talk with Hannah Pezzack. Their conversation journeys far and wide, covering everything from Elon Musk and SpaceX, to fungi and modular synthesisers.


9 March 2024

W139, Amsterdam, The Netherlands


Research: https://tranxxenolab.net/

Synth modules: https://modular.selestium.net/

Sound: https://selestra.bandcamp.com/album/d...


→ Explore more of the 2024 Biennial programme at https://2024.sonicacts.com


Credi:

Interview: Hannah Pezzack

Camera: Roman Ermolaev

Design: Knoth & Renner with Anja Kaiser

Production: Sonic Acts


Realised by Paradiso & Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Astrida Neimanis – Interview Astrida Neimanis – Interview Thu, 09 May 2024 13:34:19 GMT 34:03 tag:soundcloud,2010:tracks/1818161070 false https://soundcloud.com/sonicacts/astrida-neimanis-interview 67b74fdd7fd241a4ed7bf1a3 67b74fb8b3ef9b9a013058ac Hydrofeminist scholar Astrida Neimanis – author o… full Hydrofeminist scholar Astrida Neimanis – author of the formative book 'Bodies of Water' (2017) – is interviewed by Sonic Acts curator and editor Hannah Pezzack in the context of Sonic Acts Biennial 2024. Ahead of the workshop Weathering Together, which took place at Zone2Source on 22 February, and their presentation, 'Holdfast (Learning Feeling)' at the Sonic Acts symposium, Neimanis dived into her research and writing practices. The engaging conversation touched on poetry, hydrophones, and liquid language.


22 February 2024


Zone2Source (Amstelpark), Amsterdam, The Netherlands


→ Explore more of the 2024 Biennial programme at 2024.sonicacts.com


Credi:

Curation & production: Sonic Acts

Sound mastering: Gleb Foulga


Realised by Paradiso and Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union. The visit of Astrida Neimanis was alsomade possible by the International Visitors Programme of the Nieuwe Instituut with support from the Netherlands Ministry of Foreign Affairs.


www.sonicacts.com


Hosted on Acast. See acast.com/privacy for more information.

]]> Hydrofeminist scholar Astrida Neimanis – author of the formative book 'Bodies of Water' (2017) – is interviewed by Sonic Acts curator and editor Hannah Pezzack in the context of Sonic Acts Biennial 2024. Ahead of the workshop Weathering Together, which took place at Zone2Source on 22 February, and their presentation, 'Holdfast (Learning Feeling)' at the Sonic Acts symposium, Neimanis dived into her research and writing practices. The engaging conversation touched on poetry, hydrophones, and liquid language.


22 February 2024


Zone2Source (Amstelpark), Amsterdam, The Netherlands


→ Explore more of the 2024 Biennial programme at 2024.sonicacts.com


Credi:

Curation & production: Sonic Acts

Sound mastering: Gleb Foulga


Realised by Paradiso and Sonic Acts as part of New Perspectives for Action. A project by Re-Imagine Europe, co-funded by the European Union. The visit of Astrida Neimanis was alsomade possible by the International Visitors Programme of the Nieuwe Instituut with support from the Netherlands Ministry of Foreign Affairs.


www.sonicacts.com


Hosted on Acast. See acast.com/privacy for more information.

]]> Liquid Time (Jacob Bolton and Miriam Matthiessen) – Roadstead, Sea Lock, Deepwater Port Liquid Time (Jacob Bolton and Miriam Matthiessen) – Roadstead, Sea Lock, Deepwater Port Fri, 19 May 2023 00:00:00 GMT 24:41 tag:soundcloud,2010:tracks/1630522107 false https://soundcloud.com/sonicacts/liquid-time-jacob-bolton-and-miriam-matthiessen-roadstead-sea-lock-deepwater-port 67b74fcc6f2e96290c865ed7 67b74fb8b3ef9b9a013058ac 19 May 2023 – Ruigoord, AmsterdamSpeculating on… full 19 May 2023 – Ruigoord, Amsterdam


Speculating on logistics as a project of time management, Liquid Time’s lecture performance at Maritime Frictions considers processes of distributing, expropriating and configuring planetary time.


Based on field research carried out in the IJ estuary to the west of Amsterdam, the duo maps out three sites throughout time that each, in their own way, encapsulated enact a particular temporal dynamic within maritime space: from the harbour that shielded Dutch East India Company ships from storms in the sixteenth century, to the newly opened Sea Lock – the largest moving metal structure in the world – designed to allow mega ships to enter Amsterdam.


Along the way, Liquid Time charted the oceanic and anthropogenic rhythms that form each location, the building blocks of what they call the ‘infrarhythm’ of logistics.


Liquid Time (Jacob Bolton and Miriam Matthiessen) are a research duo working around shipping, finance, and the temporalities of maritime worlds. Miriam Matthiessen is a researcher interested in critical logistics and urban political ecology. Jacob Bolton is an architectural researcher interested in supply chain violence and resource struggle.


Drawing together artistic and critical practices, Sonic Acts and FieldARTS’ collaborative event Maritime Frictions also included field presentations from Harpo ’t Hart and Frank Bloem (Embassy of the North Sea), a listening walk with Lance Laoyan, talks by Fred Carter and Charmaine Chua, a screening of Michaela Büsse’s ‘Building with Nature’ (2022), a sound performance by Velma Spell, ending with a DJ set by Nessim.


→ Find out more at https://sonicacts.com/agenda/maritime-frictions


Credit:

Video editing: Bin Koh

Sound mastering: Poul Sven de Haan

Sound logo: Roc Jiménez de Cisneros


Maritime Frictions is a part of 'New Perspectives for Action', a project by Re-Imagine Europe co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> 19 May 2023 – Ruigoord, Amsterdam


Speculating on logistics as a project of time management, Liquid Time’s lecture performance at Maritime Frictions considers processes of distributing, expropriating and configuring planetary time.


Based on field research carried out in the IJ estuary to the west of Amsterdam, the duo maps out three sites throughout time that each, in their own way, encapsulated enact a particular temporal dynamic within maritime space: from the harbour that shielded Dutch East India Company ships from storms in the sixteenth century, to the newly opened Sea Lock – the largest moving metal structure in the world – designed to allow mega ships to enter Amsterdam.


Along the way, Liquid Time charted the oceanic and anthropogenic rhythms that form each location, the building blocks of what they call the ‘infrarhythm’ of logistics.


Liquid Time (Jacob Bolton and Miriam Matthiessen) are a research duo working around shipping, finance, and the temporalities of maritime worlds. Miriam Matthiessen is a researcher interested in critical logistics and urban political ecology. Jacob Bolton is an architectural researcher interested in supply chain violence and resource struggle.


Drawing together artistic and critical practices, Sonic Acts and FieldARTS’ collaborative event Maritime Frictions also included field presentations from Harpo ’t Hart and Frank Bloem (Embassy of the North Sea), a listening walk with Lance Laoyan, talks by Fred Carter and Charmaine Chua, a screening of Michaela Büsse’s ‘Building with Nature’ (2022), a sound performance by Velma Spell, ending with a DJ set by Nessim.


→ Find out more at https://sonicacts.com/agenda/maritime-frictions


Credit:

Video editing: Bin Koh

Sound mastering: Poul Sven de Haan

Sound logo: Roc Jiménez de Cisneros


Maritime Frictions is a part of 'New Perspectives for Action', a project by Re-Imagine Europe co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Fred Carter – Salinity, Logisticality, Field Theory Fred Carter – Salinity, Logisticality, Field Theory Fri, 19 May 2023 00:00:00 GMT 27:29 tag:soundcloud,2010:tracks/1630518627 false https://soundcloud.com/sonicacts/fred-carter-salinity-logisticality-field-theory 67b74fd97fd241a4ed7bf0f2 67b74fb8b3ef9b9a013058ac 19 May 2023 – Ruigoord, AmsterdamFred Carter’s … full 19 May 2023 – Ruigoord, Amsterdam


Fred Carter’s introductory talk at Maritime Frictions follows hydrological and logistical flows across transitional waters of the IJ estuary and the oil terminals of the Port of Amsterdam. Tracing the emergent turn to fieldwork across practice-based and environmental research, Carter asks: how might we develop practices and tactics in accordance with the IJ’s estuarine field?


Fred Carter has been a Landhaus Fellow at the Rachel Carson Centre and an associate researcher at Linnaeus University. In 2022, Carter was Saltire Emerging Researcher at the University of Amsterdam, where he is co-director of the residency programme FieldARTS. His debut poetry chapbook, Outages, will be published by Veer2 in 2023.


Drawing together artistic and critical practices, Sonic Acts and FieldARTS’ collaborative event Maritime Frictions also included field presentations from Harpo ’t Hart and Frank Bloem (Embassy of the North Sea), a listening walk with Lance Laoyan, a lecture by Charmaine Chua, a performance lecture by Liquid Time (Jacob Bolton and Miriam Matthiessen), a screening of Michaela Büsse’s ‘Building with Nature’ (2022), a sound performance from Velma Spell, ending with a DJ set by Nessim for the after party.


→ Explore more of Maritime Frictions at https://sonicacts.com/agenda/maritime-frictions


Credit:

Curation & production: Sonic Acts

Video editing: Bin Koh

Sound mastering: Poul Sven de Haan

Sound logo: Roc Jiménez de Cisneros


Maritime Frictions is a part of New Perspectives for Action, a project by Re-Imagine Europe co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> 19 May 2023 – Ruigoord, Amsterdam


Fred Carter’s introductory talk at Maritime Frictions follows hydrological and logistical flows across transitional waters of the IJ estuary and the oil terminals of the Port of Amsterdam. Tracing the emergent turn to fieldwork across practice-based and environmental research, Carter asks: how might we develop practices and tactics in accordance with the IJ’s estuarine field?


Fred Carter has been a Landhaus Fellow at the Rachel Carson Centre and an associate researcher at Linnaeus University. In 2022, Carter was Saltire Emerging Researcher at the University of Amsterdam, where he is co-director of the residency programme FieldARTS. His debut poetry chapbook, Outages, will be published by Veer2 in 2023.


Drawing together artistic and critical practices, Sonic Acts and FieldARTS’ collaborative event Maritime Frictions also included field presentations from Harpo ’t Hart and Frank Bloem (Embassy of the North Sea), a listening walk with Lance Laoyan, a lecture by Charmaine Chua, a performance lecture by Liquid Time (Jacob Bolton and Miriam Matthiessen), a screening of Michaela Büsse’s ‘Building with Nature’ (2022), a sound performance from Velma Spell, ending with a DJ set by Nessim for the after party.


→ Explore more of Maritime Frictions at https://sonicacts.com/agenda/maritime-frictions


Credit:

Curation & production: Sonic Acts

Video editing: Bin Koh

Sound mastering: Poul Sven de Haan

Sound logo: Roc Jiménez de Cisneros


Maritime Frictions is a part of New Perspectives for Action, a project by Re-Imagine Europe co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> <![CDATA[Embassy of the North Sea (Frank Bloem and Harpo 't Hart) – Fieldwork Presentation]]> Fri, 19 May 2023 00:00:00 GMT 24:41 tag:soundcloud,2010:tracks/1630524198 false https://soundcloud.com/sonicacts/embassy-of-the-north-sea-frank-bloem-and-harpo-t-hart-fieldwork-presentation 67b74fda6f2e96290c866f53 67b74fb8b3ef9b9a013058ac full Embassy of the North Sea (Frank Bloem and Harpo 't Hart) – Fieldwork Presentation

19 May 2023 – Ruigoord, Amsterdam


During their fieldwork presentation for Maritime Frictions, Frank Bloem and Harpo 't Hart observed the port of Amsterdam from a chemical point of view, following their nose and ears to smell and listen to the stories of life in the harbour. Throughout their presentation, the pair interweaved narratives of extractivism and international trade told by biological and fossilised bulk goods with stories of the marine life living on the hulls of cargo ships.


Founded in 2018, The Embassy of the North Sea departs from the idea that the North Sea belongs to and should own itself. It researches how nonhumans, from phytoplankton to ship wrecks to cod fish, can become full-fledged members of our society. The Embassy works towards 2030, when we (humans) hope to emotionally, juridically and politically relate ourselves to the sea in a fundamentally different way.


Maritime Frictions was a collaborative event organised by Sonic Acts and FieldARTS’ in Ruigoord, west of Amsterdam. The programme included a listening walk with Lance Laoyan, talks by Fred Carter and Charmaine Chua, a performance lecture by Liquid Time (Jacob Bolton and Miriam Matthiessen), a screening of Michaela Büsse’s ‘Building with Nature’ (2022), a sound performance from Velma Spell, and DJ set by Nessim.


→ Explore the more from the programme at https://sonicacts.com/agenda/maritime-frictions


Credit:

Curation & production: Sonic Acts

Recording: Roman Ermolaev

Video editing: Bin Koh

Sound mastering: Poul Sven de Haan

Sound logo: Roc Jiménez de Cisneros


Maritime Frictions is a part of New Perspectives for Action, a project by Re-Imagine Europe co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Embassy of the North Sea (Frank Bloem and Harpo 't Hart) – Fieldwork Presentation

19 May 2023 – Ruigoord, Amsterdam


During their fieldwork presentation for Maritime Frictions, Frank Bloem and Harpo 't Hart observed the port of Amsterdam from a chemical point of view, following their nose and ears to smell and listen to the stories of life in the harbour. Throughout their presentation, the pair interweaved narratives of extractivism and international trade told by biological and fossilised bulk goods with stories of the marine life living on the hulls of cargo ships.


Founded in 2018, The Embassy of the North Sea departs from the idea that the North Sea belongs to and should own itself. It researches how nonhumans, from phytoplankton to ship wrecks to cod fish, can become full-fledged members of our society. The Embassy works towards 2030, when we (humans) hope to emotionally, juridically and politically relate ourselves to the sea in a fundamentally different way.


Maritime Frictions was a collaborative event organised by Sonic Acts and FieldARTS’ in Ruigoord, west of Amsterdam. The programme included a listening walk with Lance Laoyan, talks by Fred Carter and Charmaine Chua, a performance lecture by Liquid Time (Jacob Bolton and Miriam Matthiessen), a screening of Michaela Büsse’s ‘Building with Nature’ (2022), a sound performance from Velma Spell, and DJ set by Nessim.


→ Explore the more from the programme at https://sonicacts.com/agenda/maritime-frictions


Credit:

Curation & production: Sonic Acts

Recording: Roman Ermolaev

Video editing: Bin Koh

Sound mastering: Poul Sven de Haan

Sound logo: Roc Jiménez de Cisneros


Maritime Frictions is a part of New Perspectives for Action, a project by Re-Imagine Europe co-funded by the European Union.


www.sonicacts.com

Hosted on Acast. See acast.com/privacy for more information.

]]> Mint Park – Latent Amongst the Air Mint Park – Latent Amongst the Air Thu, 27 Oct 2022 00:00:00 GMT 31:04 tag:soundcloud,2010:tracks/1627731843 false https://soundcloud.com/sonicacts/mint-park-latent-amongst-the-air 67b74fdab6cab9efc4ad6a3a 67b74fb8b3ef9b9a013058ac Latent Amongst the Air by Mint Park27 October 20… full Latent Amongst the Air by Mint Park

27 October 2022

OT301, Amsterdam, The Netherlands


In her opening presentation and performance for Night Air: Breathing with Clouds, sound and new media artist Mint Park expands on her fascination with drift, noise and dissipation, discusses the making of her Sonic Acts commission 'Turbulence Studies: Latent Amongst the Air', and considers the dynamic ways we might make our atmospheres visible.


Born in Seoul, Mint Park is currently based in Amsterdam. Working at the intersection of music, technology, science and art, her audio-visual practice focuses on the experience of the inter-weaving physical environment and virtual spaces with immersive sound, light, and spatial apparatuses. Besides her own projects, she runs Unheard Records, a label focused on femme, minority, queer and under-represented experimental artists. Night Air: Breathing with Clouds invited us to inhale deeply, sensing the fluctuations and formation processes of the atmosphere around us.


The programme featured a presentation and performance by Park, a live film score performance with Sébastien Robert, a cloud tasting with artist Hannah Mevis and a screening of Ho Tzu Nyen's film 'The Cloud of Unknowing'. The evening culminated at high altitude and low pressure, with DJ sets from Emiranda, Rapala700, Bugasmurf and DJ G2G.


NIGHT AIR Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations.


More information about Breathing with Clouds can be found at: https://sonicacts.com/archive/night-air-breathing-with-clouds


Credit:

Curation & production: Sonic Acts

Design: Toni Brell

Video editing: Roman Ermolaev

Sound mastering: Poul Sven de Haan

Hosted on Acast. See acast.com/privacy for more information.

]]> Latent Amongst the Air by Mint Park

27 October 2022

OT301, Amsterdam, The Netherlands


In her opening presentation and performance for Night Air: Breathing with Clouds, sound and new media artist Mint Park expands on her fascination with drift, noise and dissipation, discusses the making of her Sonic Acts commission 'Turbulence Studies: Latent Amongst the Air', and considers the dynamic ways we might make our atmospheres visible.


Born in Seoul, Mint Park is currently based in Amsterdam. Working at the intersection of music, technology, science and art, her audio-visual practice focuses on the experience of the inter-weaving physical environment and virtual spaces with immersive sound, light, and spatial apparatuses. Besides her own projects, she runs Unheard Records, a label focused on femme, minority, queer and under-represented experimental artists. Night Air: Breathing with Clouds invited us to inhale deeply, sensing the fluctuations and formation processes of the atmosphere around us.


The programme featured a presentation and performance by Park, a live film score performance with Sébastien Robert, a cloud tasting with artist Hannah Mevis and a screening of Ho Tzu Nyen's film 'The Cloud of Unknowing'. The evening culminated at high altitude and low pressure, with DJ sets from Emiranda, Rapala700, Bugasmurf and DJ G2G.


NIGHT AIR Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations.


More information about Breathing with Clouds can be found at: https://sonicacts.com/archive/night-air-breathing-with-clouds


Credit:

Curation & production: Sonic Acts

Design: Toni Brell

Video editing: Roman Ermolaev

Sound mastering: Poul Sven de Haan

Hosted on Acast. See acast.com/privacy for more information.

]]> Thomas Lamers (Collectief Walden) – ISLAND Thomas Lamers (Collectief Walden) – ISLAND Sun, 16 Oct 2022 00:00:00 GMT 12:49 tag:soundcloud,2010:tracks/1625971788 false https://soundcloud.com/sonicacts/thomas-lamers-collectief-walden-island 67b74fcf6f2e96290c865f58 67b74fb8b3ef9b9a013058ac ISLAND by Thomas Lamers (Collectief Walden)SONIC… full ISLAND by Thomas Lamers (Collectief Walden)

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


Resisting or allowing, the sea floods the land sooner or later. Not more than 250 years from now, the drowning of Amsterdam is going to be a fact, performance collective Walden foretells. Their performative installation EILAND, or Island, speculates how future inhabitants of the capital will deal with that ‘end-time’. Water here becomes an ‘ending force’, a moving border pushing back the geographical coastline, but also a potential source of imagination for how one might want to deal with this near future.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022 https://thomaslamers.nl https://collectiefwalden.nl


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> ISLAND by Thomas Lamers (Collectief Walden)

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


Resisting or allowing, the sea floods the land sooner or later. Not more than 250 years from now, the drowning of Amsterdam is going to be a fact, performance collective Walden foretells. Their performative installation EILAND, or Island, speculates how future inhabitants of the capital will deal with that ‘end-time’. Water here becomes an ‘ending force’, a moving border pushing back the geographical coastline, but also a potential source of imagination for how one might want to deal with this near future.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022 https://thomaslamers.nl https://collectiefwalden.nl


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Daphina Misiedjan – The Right to Water Daphina Misiedjan – The Right to Water Sun, 16 Oct 2022 00:00:00 GMT 20:47 tag:soundcloud,2010:tracks/1627334748 false https://soundcloud.com/sonicacts/daphina-misiedjan-the-right-to-water 67b74fd4af08fb18338cbc6c 67b74fb8b3ef9b9a013058ac The Right to Water by Daphina MisiedjanSONIC ACT… full The Right to Water by Daphina Misiedjan

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


Following that question of our (Western) attitude towards water, Daphina Misiedjan explores its being as a right. As researcher of environmental justice and human rights, she looks at drinkwater as a fundamental life source and its unequal distribution in the world. What does our abundant use of drinkwater here mean elsewhere in places where there is little, to none? Does access to water mean one has the right to use it? And, what about nature’s rights? Who has got the right to water?


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> The Right to Water by Daphina Misiedjan

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


Following that question of our (Western) attitude towards water, Daphina Misiedjan explores its being as a right. As researcher of environmental justice and human rights, she looks at drinkwater as a fundamental life source and its unequal distribution in the world. What does our abundant use of drinkwater here mean elsewhere in places where there is little, to none? Does access to water mean one has the right to use it? And, what about nature’s rights? Who has got the right to water?


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Ola Hassanain – Spatial Acts: Geographies of Absence and Waithood Ola Hassanain – Spatial Acts: Geographies of Absence and Waithood Sun, 16 Oct 2022 00:00:00 GMT 31:36 tag:soundcloud,2010:tracks/1625835000 false https://soundcloud.com/sonicacts/ola-hassanain-spatial-acts-geographies-of-absence-and-waithood 67b74fd5b6cab9efc4ad69a9 67b74fb8b3ef9b9a013058ac Spatial Acts: Geographies of Absence and Waithood… full Spatial Acts: Geographies of Absence and Waithood by Ola Hassanain

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


Architecture situates ‘building’ as an ecological ‘emptying’ of territories and an infrastructure for continuous cycles of ‘catastrophe’, such as forced migration. One thing that remains in the wake of catastrophe in this day and age is the continuation of building as a marker for the end of catastrophe. This implies that we should all wait while building finishes, that our problems and the imposed difficulties are never urgent enough, thus constituting 'building' as the suspension of time for some, an imposed waiting as the infrastructure for the built environment.


This talk shows an essayistic video titled ‘The Line That Follows’, which challenges conventional linear perspectives on time – vantage points still used today for the representation of built forms as induction of future realities – by including practices of space-making rooted in other sensibilities. An analogous constellation, composed of manipulated perspective drawings derived from routes taken in Khartoum, abstracted forms, text, sound, and ritualistic practices – all placeholders for propositions of an unemptied space and an aspiration for an architecture that listens.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Spatial Acts: Geographies of Absence and Waithood by Ola Hassanain

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


Architecture situates ‘building’ as an ecological ‘emptying’ of territories and an infrastructure for continuous cycles of ‘catastrophe’, such as forced migration. One thing that remains in the wake of catastrophe in this day and age is the continuation of building as a marker for the end of catastrophe. This implies that we should all wait while building finishes, that our problems and the imposed difficulties are never urgent enough, thus constituting 'building' as the suspension of time for some, an imposed waiting as the infrastructure for the built environment.


This talk shows an essayistic video titled ‘The Line That Follows’, which challenges conventional linear perspectives on time – vantage points still used today for the representation of built forms as induction of future realities – by including practices of space-making rooted in other sensibilities. An analogous constellation, composed of manipulated perspective drawings derived from routes taken in Khartoum, abstracted forms, text, sound, and ritualistic practices – all placeholders for propositions of an unemptied space and an aspiration for an architecture that listens.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Aura Satz – The Future Waters of the Storm Surge Aura Satz – The Future Waters of the Storm Surge Sun, 16 Oct 2022 00:00:00 GMT 20:44 tag:soundcloud,2010:tracks/1625983854 false https://soundcloud.com/sonicacts/aura-satz-the-future-waters-of-the-storm-surge 67b74fd8b3ef9b9a01305d7c 67b74fb8b3ef9b9a013058ac The Future Waters of the Storm Surge by Aura Satz… full The Future Waters of the Storm Surge by Aura Satz

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


From the perspective of the Oosterscheldekering – a protective barrier that connects the Zeeland islands and is designed to protect the Netherlands from flooding from the North Sea – water is a threat, a potential source of disaster, an alarming sound. By exploring such sites visually and sonically, filmmaker Aura Satz is reimagining emergency sirens in an age of intersecting human-made and ecological disasters.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Watch the ‘The Future Waters of the Storm Surge’ trailer here: https://www.youtube.com/watch?v=vDWxEJGDW68&t=0s


Find out more at https://sonicacts.com/archive/biennial2022 https://iamanagram.com


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> The Future Waters of the Storm Surge by Aura Satz

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


From the perspective of the Oosterscheldekering – a protective barrier that connects the Zeeland islands and is designed to protect the Netherlands from flooding from the North Sea – water is a threat, a potential source of disaster, an alarming sound. By exploring such sites visually and sonically, filmmaker Aura Satz is reimagining emergency sirens in an age of intersecting human-made and ecological disasters.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Watch the ‘The Future Waters of the Storm Surge’ trailer here: https://www.youtube.com/watch?v=vDWxEJGDW68&t=0s


Find out more at https://sonicacts.com/archive/biennial2022 https://iamanagram.com


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Mikki Stelder – Maritime Imagination Mikki Stelder – Maritime Imagination Sun, 16 Oct 2022 00:00:00 GMT 19:58 tag:soundcloud,2010:tracks/1627378821 false https://soundcloud.com/sonicacts/mikki-stelder-maritime-imagination 67b74fd8b6cab9efc4ad69f1 67b74fb8b3ef9b9a013058ac Maritime Imagination by Mikki StelderSONIC ACTS … full Maritime Imagination by Mikki Stelder

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


Thinking of the future imaginary of water invites a journey back into its unsettled past. In 1609, Dutch East India Company lawyer and state ideologue Hugo de Groot crafted the notion of ‘mare liberum’, or the free sea, turning the ocean into a commodity ready to be exploited. Tracing the colonial undercurrent of our maritime imagination across time, interdisciplinary researcher and writer Mikki Stelder is interested in how the ocean’s very materiality actively resists notions of commodification perpetuated by today’s legal narratives.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Maritime Imagination by Mikki Stelder

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


Thinking of the future imaginary of water invites a journey back into its unsettled past. In 1609, Dutch East India Company lawyer and state ideologue Hugo de Groot crafted the notion of ‘mare liberum’, or the free sea, turning the ocean into a commodity ready to be exploited. Tracing the colonial undercurrent of our maritime imagination across time, interdisciplinary researcher and writer Mikki Stelder is interested in how the ocean’s very materiality actively resists notions of commodification perpetuated by today’s legal narratives.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> <![CDATA[Kyveli Mavrokordopoulou & Agnès Villette – Transient Marshlands, Permanent Progress]]> Sun, 16 Oct 2022 00:00:00 GMT 30:06 tag:soundcloud,2010:tracks/1625963589 false https://soundcloud.com/sonicacts/kyveli-mavrokordopoulou-agnes-villette-transient-marshlands-permanent-progress 67b74fd7af08fb18338cbce0 67b74fb8b3ef9b9a013058ac Transient Marshlands, Permanent Progress – Geogra… full Transient Marshlands, Permanent Progress – Geographies of Uncertainty by Kyveli Mavrokordopoulou & Agnès Villette

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


On the shores of France, Belgium, and the Netherlands lie three nuclear installations forming an eclectic nuclear geography. Gravelines, Doel and Borssele nuclear power stations started operating in the 1970s on the unstable marsh soils of reclaimed land – that is new land created out of the water. Today, rising sea levels due to global warming threaten the power plants imminently, requiring the construction of dykes and elevated buffers, which are currently being implemented. We explore these swampy geographies as places where the future-oriented temporality of the nuclear sector crumbles. Both nuclear reactors, as the cathedrals of the 20th century, and polders, as the epitome of hydraulic engineering, are archetypal figures of modernity. Both symbolise the conquest of natural environments and consolidate national identities. Yet, despite their ‘solidity’, the existence of these three nuclear infrastructures is under threat. As examples, they confirm the importance of countering progress and linear historical narratives of nuclear progress, and help us understand how atomic technologies permeate our lives. Rather than an undefined, deep nuclear future, we are interested in how these nuclearised polders leave the vast temporal scales of nuclear waste behind, offering an opportunity to consider how such technologies are already and urgently affecting the present.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Transient Marshlands, Permanent Progress – Geographies of Uncertainty by Kyveli Mavrokordopoulou & Agnès Villette

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


On the shores of France, Belgium, and the Netherlands lie three nuclear installations forming an eclectic nuclear geography. Gravelines, Doel and Borssele nuclear power stations started operating in the 1970s on the unstable marsh soils of reclaimed land – that is new land created out of the water. Today, rising sea levels due to global warming threaten the power plants imminently, requiring the construction of dykes and elevated buffers, which are currently being implemented. We explore these swampy geographies as places where the future-oriented temporality of the nuclear sector crumbles. Both nuclear reactors, as the cathedrals of the 20th century, and polders, as the epitome of hydraulic engineering, are archetypal figures of modernity. Both symbolise the conquest of natural environments and consolidate national identities. Yet, despite their ‘solidity’, the existence of these three nuclear infrastructures is under threat. As examples, they confirm the importance of countering progress and linear historical narratives of nuclear progress, and help us understand how atomic technologies permeate our lives. Rather than an undefined, deep nuclear future, we are interested in how these nuclearised polders leave the vast temporal scales of nuclear waste behind, offering an opportunity to consider how such technologies are already and urgently affecting the present.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Maryam Monalisa Gharavi – Dirt, Debt, Death, Data Maryam Monalisa Gharavi – Dirt, Debt, Death, Data Sun, 16 Oct 2022 00:00:00 GMT 30:04 tag:soundcloud,2010:tracks/1625967795 false https://soundcloud.com/sonicacts/maryam-monalisa-gharavi-dirt-debt-death-data 67b74fd9b3ef9b9a01305dc0 67b74fb8b3ef9b9a013058ac Dirt, Debt, Death, Data by Maryam Monalisa Gharav… full Dirt, Debt, Death, Data by Maryam Monalisa Gharavi

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


Oil, the 20th century’s most important non-renewable resource, lies at the centre of discourses on ecological peril and financial oppression, though its colonialist history has faded from view. In a lecture performance enacting a liquidation of Mideast history, speculative exploration, extractive economics, and fictional representation, the artist debuts a one-person collective called Oil Research Group (ORG). ORG is propelled by the concept that ‘data is the new oil’, coined in 2006 by British mathematician (and customer loyalty card inventor) Clive Humby. Oil is a finite source at the very core of both global financial markets and #nofuture petroleum wars; information, seemingly infinite, also ‘leaks’ into the collapsing tripartite structures of governance, markets, and society. The digital self is sticky, like a bird after an oil spill. Moving along the axis of four Ds: dirt, debt, death, and data, ORG traces the finitude and preciousness of our dominant technologies, along the way testing assumptions about the material and immaterial ways in which we are connected, addicted, fossilised, and one hopes, liberated in their wake.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Dirt, Debt, Death, Data by Maryam Monalisa Gharavi

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


Oil, the 20th century’s most important non-renewable resource, lies at the centre of discourses on ecological peril and financial oppression, though its colonialist history has faded from view. In a lecture performance enacting a liquidation of Mideast history, speculative exploration, extractive economics, and fictional representation, the artist debuts a one-person collective called Oil Research Group (ORG). ORG is propelled by the concept that ‘data is the new oil’, coined in 2006 by British mathematician (and customer loyalty card inventor) Clive Humby. Oil is a finite source at the very core of both global financial markets and #nofuture petroleum wars; information, seemingly infinite, also ‘leaks’ into the collapsing tripartite structures of governance, markets, and society. The digital self is sticky, like a bird after an oil spill. Moving along the axis of four Ds: dirt, debt, death, and data, ORG traces the finitude and preciousness of our dominant technologies, along the way testing assumptions about the material and immaterial ways in which we are connected, addicted, fossilised, and one hopes, liberated in their wake.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Kent Chan – Five Stories on Heat Kent Chan – Five Stories on Heat Sun, 16 Oct 2022 00:00:00 GMT 30:10 tag:soundcloud,2010:tracks/1625811822 false https://soundcloud.com/sonicacts/kent-chan-five-stories-on-heat 67b74fde6f2e96290c86703d 67b74fb8b3ef9b9a013058ac Five Stories on Heat by Kent ChanSONIC ACTS BIEN… full Five Stories on Heat by Kent Chan

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


‘Five Stories on Heat’ is a storytelling performance by Kent Chan that ruminates upon art's shared histories and futures with heat. The performance blends narratives of artmaking during the Vietnam War, Malayan and Hopi myths, with potential film plotlines and the first exhibition of Singaporean art in Europe. Like a mosaic, Chan’s storylines skip from East to West, from the past to the future. His work engages with the concept and representation of ‘the tropics’ in relation to colonialism, politics and identity, and highlights that ‘the tropics’ are not just solely defined by meteorology and geography, but also by Western narratives about aesthetic and cultural superiority.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022 http://kentchan.info


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Five Stories on Heat by Kent Chan

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


‘Five Stories on Heat’ is a storytelling performance by Kent Chan that ruminates upon art's shared histories and futures with heat. The performance blends narratives of artmaking during the Vietnam War, Malayan and Hopi myths, with potential film plotlines and the first exhibition of Singaporean art in Europe. Like a mosaic, Chan’s storylines skip from East to West, from the past to the future. His work engages with the concept and representation of ‘the tropics’ in relation to colonialism, politics and identity, and highlights that ‘the tropics’ are not just solely defined by meteorology and geography, but also by Western narratives about aesthetic and cultural superiority.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022 http://kentchan.info


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Nishat Awan – Atlas Otherwise Nishat Awan – Atlas Otherwise Sun, 16 Oct 2022 00:00:00 GMT 29:59 tag:soundcloud,2010:tracks/1625821920 false https://soundcloud.com/sonicacts/nishat-awan-atlas-otherwise 67b74fe0b3ef9b9a01306ba7 67b74fb8b3ef9b9a013058ac Atlas Otherwise by Nishat AwanSONIC ACTS BIENNIA… full Atlas Otherwise by Nishat Awan

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


While there have been many attempts to think and make maps differently, the atlas is usually understood as a compendium of maps rather than a form of knowledge production. How can we rethink and remake the atlas otherwise to tell stories that do not follow the logic of colonisation and of property? The recent forensic or evidentiary turn in the arts has been ushered in through the scopic view of satellites and the ubiquity of image material across digital platforms. Such practices of digital witnessing allow us to ‘see’ further and deeper into places that are at a distance from us, but at the same time they create the conditions that make certain subjects recede from view. The empty geometric volumes of digital cartography also intensify the absence of materiality and the removal of experience from traditional atlases. How might we rethink notions of testimony and evidence in relation to the digital, knowing also that the witnessing of violence requires forms of empathy and affectivity that are not always readily available within computational forms of knowing? How can we think of the digital not as a tool or a method, but as a realm of possibility that may allow certain lives and worlds to become (il)legible, mourn-able and addressable on their own terms? This presentation is an attempt to rethink the atlas as an archive that is produced through the entanglements of matter, moisture and our own and other’s inhabitation.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022 https://nishatawan.me


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Atlas Otherwise by Nishat Awan

SONIC ACTS BIENNIAL 2022


16 October 2022

Likeminds, Amsterdam, The Netherlands


While there have been many attempts to think and make maps differently, the atlas is usually understood as a compendium of maps rather than a form of knowledge production. How can we rethink and remake the atlas otherwise to tell stories that do not follow the logic of colonisation and of property? The recent forensic or evidentiary turn in the arts has been ushered in through the scopic view of satellites and the ubiquity of image material across digital platforms. Such practices of digital witnessing allow us to ‘see’ further and deeper into places that are at a distance from us, but at the same time they create the conditions that make certain subjects recede from view. The empty geometric volumes of digital cartography also intensify the absence of materiality and the removal of experience from traditional atlases. How might we rethink notions of testimony and evidence in relation to the digital, knowing also that the witnessing of violence requires forms of empathy and affectivity that are not always readily available within computational forms of knowing? How can we think of the digital not as a tool or a method, but as a realm of possibility that may allow certain lives and worlds to become (il)legible, mourn-able and addressable on their own terms? This presentation is an attempt to rethink the atlas as an archive that is produced through the entanglements of matter, moisture and our own and other’s inhabitation.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022 https://nishatawan.me


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Antonia Alampi – ‘Everywhere is a here, isn’t it?’ On Toxic Entanglements Antonia Alampi – ‘Everywhere is a here, isn’t it?’ On Toxic Entanglements Sat, 15 Oct 2022 00:00:00 GMT 34:59 tag:soundcloud,2010:tracks/1627383729 false https://soundcloud.com/sonicacts/antonia-alampi-everywhere-is-a-here-isnt-it-on-toxic-entanglements 67b74fdab6cab9efc4ad6a47 67b74fb8b3ef9b9a013058ac ‘Everywhere is a here, isn’t it?’ On Toxic Entang… full ‘Everywhere is a here, isn’t it?’ On Toxic Entanglements by Antonia Alampi

SONIC ACTS BIENNIAL 2022


15 October 2022

Likeminds, Amsterdam, The Netherlands


‘Human actors strive to interpret, define, or contain the toxic, but how are they also acted upon? Or [...] what happens when the dump is in us? What is the duality of contamination that emerges when we think of toxicity as an ongoing and morphing process?’ (Chloe Taft, ‘What is TOXIC?’, TOXIC: A Symposium on Exposure, Entanglement, and Endurance, 2016, New Haven) Practitioners from various disciplines have long been engaged in exposing experiences of toxicity. At the heart of many such endeavours is the necessity of finding ways to make visible the complex entanglements of toxicity: of seemingly distant geographies and places; of the different reasons and interests that lie behind the manufacturing of toxicity; of the ways found to bypass national and transnational legislations; of the forms of collaboration between state apparatuses and organised crime in facilitating corporate interests at the expense of people. This talk starts with the toxic events in Alampi’s hometown, in a little village in Calabria, and moves on to discuss platforms such as Toxic Commons and the exhibitions ‘Deadly Affairs’ at Kunsthal Extra City in Antwerp and ‘The Long Term You Cannot Afford’ at SAVVY Contemporary in Berlin. What may emerge are similarities, more than differences, and proximity, more than distance. Everything being closer, way closer than one may think.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> ‘Everywhere is a here, isn’t it?’ On Toxic Entanglements by Antonia Alampi

SONIC ACTS BIENNIAL 2022


15 October 2022

Likeminds, Amsterdam, The Netherlands


‘Human actors strive to interpret, define, or contain the toxic, but how are they also acted upon? Or [...] what happens when the dump is in us? What is the duality of contamination that emerges when we think of toxicity as an ongoing and morphing process?’ (Chloe Taft, ‘What is TOXIC?’, TOXIC: A Symposium on Exposure, Entanglement, and Endurance, 2016, New Haven) Practitioners from various disciplines have long been engaged in exposing experiences of toxicity. At the heart of many such endeavours is the necessity of finding ways to make visible the complex entanglements of toxicity: of seemingly distant geographies and places; of the different reasons and interests that lie behind the manufacturing of toxicity; of the ways found to bypass national and transnational legislations; of the forms of collaboration between state apparatuses and organised crime in facilitating corporate interests at the expense of people. This talk starts with the toxic events in Alampi’s hometown, in a little village in Calabria, and moves on to discuss platforms such as Toxic Commons and the exhibitions ‘Deadly Affairs’ at Kunsthal Extra City in Antwerp and ‘The Long Term You Cannot Afford’ at SAVVY Contemporary in Berlin. What may emerge are similarities, more than differences, and proximity, more than distance. Everything being closer, way closer than one may think.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Dani Admiss – Sunlight Doesn’t Need a Pipeline Dani Admiss – Sunlight Doesn’t Need a Pipeline Sat, 15 Oct 2022 00:00:00 GMT 30:20 tag:soundcloud,2010:tracks/1627342749 false https://soundcloud.com/sonicacts/dani-admiss-sunlight-doesnt-need-a-pipeline 67b74fda7fd241a4ed7bf12f 67b74fb8b3ef9b9a013058ac Sunlight Doesn’t Need a Pipeline by Dani AdmissS… full Sunlight Doesn’t Need a Pipeline by Dani Admiss

SONIC ACTS BIENNIAL 2022


15 October 2022

Likeminds, Amsterdam, The Netherlands


Dani Admiss looks at how a collaborative climate justice project Sunlight Doesn’t Need a Pipeline initiates a collective rethink about what forms of repair are needed in the art sector and beyond. The current solutions of climate repair are flawed; carbon accounting and offsetting practices reiterate a narrative where one party repairs for another and scarcity narratives such as the half-Earth ‘solution’ propose a redistribution that imposes violence for many and a feeling of loss for others. In her talk, Admiss talks about commissioned projects by Luiza Prado and Chanelle Adams within the context of the Sunlight project. She also thinks about how repair can be meaningful to people in their own lived experiences and communities, as well as within environments that are shaped by humanity but exist far beyond them.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022 https://daniadmiss.com https://sunlightdoesntneedapipeline.com


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Sunlight Doesn’t Need a Pipeline by Dani Admiss

SONIC ACTS BIENNIAL 2022


15 October 2022

Likeminds, Amsterdam, The Netherlands


Dani Admiss looks at how a collaborative climate justice project Sunlight Doesn’t Need a Pipeline initiates a collective rethink about what forms of repair are needed in the art sector and beyond. The current solutions of climate repair are flawed; carbon accounting and offsetting practices reiterate a narrative where one party repairs for another and scarcity narratives such as the half-Earth ‘solution’ propose a redistribution that imposes violence for many and a feeling of loss for others. In her talk, Admiss talks about commissioned projects by Luiza Prado and Chanelle Adams within the context of the Sunlight project. She also thinks about how repair can be meaningful to people in their own lived experiences and communities, as well as within environments that are shaped by humanity but exist far beyond them.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022 https://daniadmiss.com https://sunlightdoesntneedapipeline.com


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Angeliki Balayannis – Public Experiments in Chemical Regulation Angeliki Balayannis – Public Experiments in Chemical Regulation Sat, 15 Oct 2022 00:00:00 GMT 30:09 tag:soundcloud,2010:tracks/1627357590 false https://soundcloud.com/sonicacts/angeliki-balayannis-public-experiments-in-chemical-regulation 67b74fdcaf08fb18338cbdbe 67b74fb8b3ef9b9a013058ac Public Experiments in Chemical Regulation by Ange… full Public Experiments in Chemical Regulation by Angeliki Balayannis

SONIC ACTS BIENNIAL 2022


15 October 2022

Likeminds, Amsterdam, The Netherlands


Industrial chemicals form the infrastructure of modern life. The regulation of these chemicals – in particular the dominant permission-to-pollute regime – is built on logics that produce environmental and epistemic injustices. In light of this, what kind of interventions might enable different ways of ‘doing’ regulation; regulatory experiments that instead foreground justice? Regulation remains dominantly imagined as the work of civil servants and regulatory scientists. This talk invites a cultural and political expansion of the regulatory imaginary. Attending to regulatory geographies beyond the work of regulators opens up new sites for intervening in toxic legacies.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022 https://angelikibalayannis.com


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Public Experiments in Chemical Regulation by Angeliki Balayannis

SONIC ACTS BIENNIAL 2022


15 October 2022

Likeminds, Amsterdam, The Netherlands


Industrial chemicals form the infrastructure of modern life. The regulation of these chemicals – in particular the dominant permission-to-pollute regime – is built on logics that produce environmental and epistemic injustices. In light of this, what kind of interventions might enable different ways of ‘doing’ regulation; regulatory experiments that instead foreground justice? Regulation remains dominantly imagined as the work of civil servants and regulatory scientists. This talk invites a cultural and political expansion of the regulatory imaginary. Attending to regulatory geographies beyond the work of regulators opens up new sites for intervening in toxic legacies.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022 https://angelikibalayannis.com


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> <![CDATA[Sophie Dyer & Sasha Engelmann (open-weather) – when we image the earth, we imagine another]]> Sat, 15 Oct 2022 00:00:00 GMT 30:44 tag:soundcloud,2010:tracks/1625830809 false https://soundcloud.com/sonicacts/sophie-dyer-sasha-engelmann-open-weather-when-we-image-the-earth-we-imagine-another 67b74fdcaf08fb18338cbdce 67b74fb8b3ef9b9a013058ac when we image the earth, we imagine another by So… full when we image the earth, we imagine another by Sophie Dyer & Sash Engelmann (open-weather)

SONIC ACTS BIENNIAL 2022


15 October 2022

Likeminds, Amsterdam, The Netherlands


‘As the weather image grew, Miel’s consciousness expanded, bending to the curvature of the Earth. Far from an out-of-body experience, the feeling was one of being profoundly situated: sandwiched between the sun-warmed Land, particle-laden air, cloud, satellite and cosmos.’ (S. Dyer, S. Engelmann, ‘When I image the earth, I imagine another’, Ecoes #3, Sonic Acts Press, 2022) Last year, on the first day of the COP26 climate conference in Glasgow, a network of people operating DIY satellite ground stations around the world captured a collective snapshot of the Earth and its weather systems: a ‘nowcast’ for an undecided future. Tuning into transmissions from three orbiting National Oceanic and Atmospheric Administration (NOAA) satellites, volunteers collected imagery and submitted field notes from their geographical locations. Combined, these contributions generated a feminist and fractal image of the Earth, and a record of conditions of climate crisis from Buenos Aires to Kinshasa to London. As open-weather, we ask: What does it mean to collectively image the Earth, and in doing so, reimagine the planet?


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022 https://open-weather.community


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> when we image the earth, we imagine another by Sophie Dyer & Sash Engelmann (open-weather)

SONIC ACTS BIENNIAL 2022


15 October 2022

Likeminds, Amsterdam, The Netherlands


‘As the weather image grew, Miel’s consciousness expanded, bending to the curvature of the Earth. Far from an out-of-body experience, the feeling was one of being profoundly situated: sandwiched between the sun-warmed Land, particle-laden air, cloud, satellite and cosmos.’ (S. Dyer, S. Engelmann, ‘When I image the earth, I imagine another’, Ecoes #3, Sonic Acts Press, 2022) Last year, on the first day of the COP26 climate conference in Glasgow, a network of people operating DIY satellite ground stations around the world captured a collective snapshot of the Earth and its weather systems: a ‘nowcast’ for an undecided future. Tuning into transmissions from three orbiting National Oceanic and Atmospheric Administration (NOAA) satellites, volunteers collected imagery and submitted field notes from their geographical locations. Combined, these contributions generated a feminist and fractal image of the Earth, and a record of conditions of climate crisis from Buenos Aires to Kinshasa to London. As open-weather, we ask: What does it mean to collectively image the Earth, and in doing so, reimagine the planet?


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022 https://open-weather.community


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Mary Maggic – Performing the Sublime Sea of Co-Mattering Mary Maggic – Performing the Sublime Sea of Co-Mattering Sat, 15 Oct 2022 00:00:00 GMT 25:50 tag:soundcloud,2010:tracks/1627338405 false https://soundcloud.com/sonicacts/daphina-misiedjan-the-right-to-water-1 67b74fdd6f2e96290c867008 67b74fb8b3ef9b9a013058ac Performing the Sublime Sea of Co-Mattering by Mar… full Performing the Sublime Sea of Co-Mattering by Mary Maggic

SONIC ACTS BIENNIAL 2022


15 October 2022

Likeminds, Amsterdam, The Netherlands


Through years of research through public ‘workshopologies’ on the project Open Source Estrogen, biohacking methodologies have proven to serve far more than spreading didactic knowledge. These protocols, which produce an existential knowing in our bodies and environments, inevitably lead to a form of collective worlding and knowledging – strategies that may help us out of ecological ruins. Combining biohacking with performance in a new dramaturgical workshop, ‘Performing the Sublime Sea of Co-Mattering’, participants embody the very agency of toxic molecules and their ongoing process of worldbuilding, emerging on the other side with a radical breakage from the past.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022 https://maggic.ooo


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Performing the Sublime Sea of Co-Mattering by Mary Maggic

SONIC ACTS BIENNIAL 2022


15 October 2022

Likeminds, Amsterdam, The Netherlands


Through years of research through public ‘workshopologies’ on the project Open Source Estrogen, biohacking methodologies have proven to serve far more than spreading didactic knowledge. These protocols, which produce an existential knowing in our bodies and environments, inevitably lead to a form of collective worlding and knowledging – strategies that may help us out of ecological ruins. Combining biohacking with performance in a new dramaturgical workshop, ‘Performing the Sublime Sea of Co-Mattering’, participants embody the very agency of toxic molecules and their ongoing process of worldbuilding, emerging on the other side with a radical breakage from the past.


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022 https://maggic.ooo


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Nerea Calvillo – Sensing Polluted Airs Nerea Calvillo – Sensing Polluted Airs Sat, 15 Oct 2022 00:00:00 GMT 32:43 tag:soundcloud,2010:tracks/1627363836 false https://soundcloud.com/sonicacts/nerea-calvillo-sensing-polluted-airs 67b74fe0b3ef9b9a01306bac 67b74fb8b3ef9b9a013058ac Sensing Polluted Airs by Nerea CalvilloSONIC ACT… full Sensing Polluted Airs by Nerea Calvillo

SONIC ACTS BIENNIAL 2022


15 October 2022

Likeminds, Amsterdam, The Netherlands


Geoengineering projects sustain a state of affairs. But how can we think about infrastructures designed to deal with polluted air in the world we all share? Maybe by testing other modes of paying attention, treating or engaging with it; through infrastructures that acknowledge a broken world, but might trigger other ways of living in it; or with infrastructural experiments to test if collectively sensing pollution, rather than simply seeing information about it, can produce new responses and affects. To sense air physically, as well as emotionally, culturally, poetically…


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Sensing Polluted Airs by Nerea Calvillo

SONIC ACTS BIENNIAL 2022


15 October 2022

Likeminds, Amsterdam, The Netherlands


Geoengineering projects sustain a state of affairs. But how can we think about infrastructures designed to deal with polluted air in the world we all share? Maybe by testing other modes of paying attention, treating or engaging with it; through infrastructures that acknowledge a broken world, but might trigger other ways of living in it; or with infrastructural experiments to test if collectively sensing pollution, rather than simply seeing information about it, can produce new responses and affects. To sense air physically, as well as emotionally, culturally, poetically…


Sonic Acts Biennial 2022 took place at various locations in Amsterdam, interweaving an exhibition, sound performances and discourse programme, accompanied by artist presentations, workshops, excursions and more. As a part of the Biennial programme, the Leaving Traces symposium opened up a forum in which to become attentive to pollution’s invisible, yet harmful touch. Actively rethinking our relation to the climate and our planetary legacies, an array of artists, researchers, curators, and scholars spoke of the many faces of toxicity – from fossil fuels to plastic, from nuclear energy to chemical pollutants. The gathering staged real stories and events of exposure, thinking about ‘leaving traces’ not just as the material act of spreading toxicity, but as art’s potential to reach out and act as a disruptive force in the world.


Find out more at https://sonicacts.com/archive/biennial2022


Credit:

Curation & production: Sonic Acts

Recording: Engage! TV

Sound mastering: Monty Mouw

Design: Catalogtree

Sound logo: Roc Jiménez de Cisneros

Hosted on Acast. See acast.com/privacy for more information.

]]> Hannah Mevis – Filtered Clouds_do not store in container Hannah Mevis – Filtered Clouds_do not store in container Fri, 27 May 2022 00:00:00 GMT 23:35 tag:soundcloud,2010:tracks/1627720860 false https://soundcloud.com/sonicacts/hannah-mevis-filtered-clouds_do-not-store-in-container 67b74fd9b3ef9b9a01305db2 67b74fb8b3ef9b9a013058ac Filtered Clouds_do not store in container by Hann… full Filtered Clouds_do not store in container by Hannah Mevis

27 May 2022 – OT301, Amsterdam, The Netherlands


Although a vast body of water is present in the air at all times, clouds are only perceptible by a careful combination of distance, moisture density, and light. Mist and fog, despite causing low visibility, are a way for earth-bound critters to experience clouds. As they hang low and cling to surfaces, we breathe them in and absorb them through porous bodies. Drawing attention to these intimate encounters, Hannah Mevis’ artwork inspired by morning dew, 'Filtered Clouds_do not store in container', encouraged us to taste clouds. Harvested locally, the clouds were meant to be sent travelling through our digestive systems and beyond.


Curiosity towards the body and more-than-human lifeforms lies at the heart of Hannah Mevis’ artistic practice. Taking multiple, ever-changing shapes, she invites her audiences into participatory encounters such as wearing sculptures, floating a space, joining in on a political action or consuming culinary dishes while engaging with stories of food history. Currently, Hannah is focusing on states of exhaustion, alongside capturing a cumulus cloud. Night Air: Breathing with Clouds invited us to inhale deeply, sensing the fluctuations and formation processes of the atmosphere around us. The programme featured a presentation and performance by Park, a live film score performance with Sébastien Robert, a cloud tasting with artist Hannah Mevis and a screening of Ho Tzu Nyen's film 'The Cloud of Unknowing'. The evening culminated at high altitude and low pressure, with DJ sets from Emiranda, Rapala700, Bugasmurf and DJ G2G.


NIGHT AIR

Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations. More information about Breathing with Clouds and its participants can be found at https://sonicacts.com/archive/night-air-breathing-with-clouds


CREDITS

Curation & production: Sonic Acts

Design: Toni Brell

Video editing: Roman Ermolaev

Sound mastering: Poul Sven de Haan

Hosted on Acast. See acast.com/privacy for more information.

]]> Filtered Clouds_do not store in container by Hannah Mevis

27 May 2022 – OT301, Amsterdam, The Netherlands


Although a vast body of water is present in the air at all times, clouds are only perceptible by a careful combination of distance, moisture density, and light. Mist and fog, despite causing low visibility, are a way for earth-bound critters to experience clouds. As they hang low and cling to surfaces, we breathe them in and absorb them through porous bodies. Drawing attention to these intimate encounters, Hannah Mevis’ artwork inspired by morning dew, 'Filtered Clouds_do not store in container', encouraged us to taste clouds. Harvested locally, the clouds were meant to be sent travelling through our digestive systems and beyond.


Curiosity towards the body and more-than-human lifeforms lies at the heart of Hannah Mevis’ artistic practice. Taking multiple, ever-changing shapes, she invites her audiences into participatory encounters such as wearing sculptures, floating a space, joining in on a political action or consuming culinary dishes while engaging with stories of food history. Currently, Hannah is focusing on states of exhaustion, alongside capturing a cumulus cloud. Night Air: Breathing with Clouds invited us to inhale deeply, sensing the fluctuations and formation processes of the atmosphere around us. The programme featured a presentation and performance by Park, a live film score performance with Sébastien Robert, a cloud tasting with artist Hannah Mevis and a screening of Ho Tzu Nyen's film 'The Cloud of Unknowing'. The evening culminated at high altitude and low pressure, with DJ sets from Emiranda, Rapala700, Bugasmurf and DJ G2G.


NIGHT AIR

Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations. More information about Breathing with Clouds and its participants can be found at https://sonicacts.com/archive/night-air-breathing-with-clouds


CREDITS

Curation & production: Sonic Acts

Design: Toni Brell

Video editing: Roman Ermolaev

Sound mastering: Poul Sven de Haan

Hosted on Acast. See acast.com/privacy for more information.

]]> Jeff Diamanti – Phosphate Futures: Body, Territory, Mutiny Jeff Diamanti – Phosphate Futures: Body, Territory, Mutiny Fri, 22 Apr 2022 00:00:00 GMT 38:46 tag:soundcloud,2010:tracks/1625798838 false https://soundcloud.com/sonicacts/jeff-diamanti-phosphate-futures-body-territory-mutiny 67b74fd3b3ef9b9a01305ca6 67b74fb8b3ef9b9a013058ac NIGHT AIR: SHIFTING SANDSJeff Diamanti – Phospha… full NIGHT AIR: SHIFTING SANDS

Jeff Diamanti – Phosphate Futures: Body, Territory, Mutiny

22 April 2022 – OT301, Amsterdam, The Netherlands


In his talk ‘Phosphate Futures: Body, Territory, Mutiny’, Jeff Diamanti unfolds the figurative force of elemental phosphorus across four fields on Earth: Amsterdam, the Netherlands; Port of Elizabeth, South Africa; Laâyoune, the Sahrawi Arab Democratic Republic; and the moraine of the Greenland Ice Sheet. Jeff Diamanti is Assistant Professor of Environmental Humanities at the University of Amsterdam. His book ‘Climate and Capital in the Age of Petroleum’ (2021) tracks the political and media ecology of fossil fuels across the extractive and logistical spaces that connect remote territories. His new research, Bloom Ecologies, is about phytoplankton, phosphorus, and the spectre of hypoxia. He organises a residency called FieldARTS together with Fred Carter. Digging into the relationship between sand, the history of pollution, and economy, Night Air: Shifting Sands featured an audiovisual work by Félix Blume, talks from scholars Jeff Diamanti and Michaela Büsse, as well as films from Enar de Dios Rodríguez, Maika Garnica, Ans Mertens and Yanjin Wu. In the latter part of the evening, artist Farzané delivered a performance of ‘LÖSS’, before DJs Femi, TAAHLIAH, Snufkin, and Europa took over for the night.


NIGHT AIR

Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations.


More information about Shifting Sands and its participants can be found at sonicacts.com/discover/night-air-shifting-sands


CREDITS

Curation & production: Sonic Acts

Design: Toni Brell

Video editing: Marie Debarbieux

Sound mastering: Poul Sven de Haan

Hosted on Acast. See acast.com/privacy for more information.

]]> NIGHT AIR: SHIFTING SANDS

Jeff Diamanti – Phosphate Futures: Body, Territory, Mutiny

22 April 2022 – OT301, Amsterdam, The Netherlands


In his talk ‘Phosphate Futures: Body, Territory, Mutiny’, Jeff Diamanti unfolds the figurative force of elemental phosphorus across four fields on Earth: Amsterdam, the Netherlands; Port of Elizabeth, South Africa; Laâyoune, the Sahrawi Arab Democratic Republic; and the moraine of the Greenland Ice Sheet. Jeff Diamanti is Assistant Professor of Environmental Humanities at the University of Amsterdam. His book ‘Climate and Capital in the Age of Petroleum’ (2021) tracks the political and media ecology of fossil fuels across the extractive and logistical spaces that connect remote territories. His new research, Bloom Ecologies, is about phytoplankton, phosphorus, and the spectre of hypoxia. He organises a residency called FieldARTS together with Fred Carter. Digging into the relationship between sand, the history of pollution, and economy, Night Air: Shifting Sands featured an audiovisual work by Félix Blume, talks from scholars Jeff Diamanti and Michaela Büsse, as well as films from Enar de Dios Rodríguez, Maika Garnica, Ans Mertens and Yanjin Wu. In the latter part of the evening, artist Farzané delivered a performance of ‘LÖSS’, before DJs Femi, TAAHLIAH, Snufkin, and Europa took over for the night.


NIGHT AIR

Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations.


More information about Shifting Sands and its participants can be found at sonicacts.com/discover/night-air-shifting-sands


CREDITS

Curation & production: Sonic Acts

Design: Toni Brell

Video editing: Marie Debarbieux

Sound mastering: Poul Sven de Haan

Hosted on Acast. See acast.com/privacy for more information.

]]> Michaela Büsse – Granular Grammar Michaela Büsse – Granular Grammar Fri, 22 Apr 2022 00:00:00 GMT 36:51 tag:soundcloud,2010:tracks/1625784126 false https://soundcloud.com/sonicacts/michaela-busse-granular-grammar 67b74fdbb3ef9b9a01305de8 67b74fb8b3ef9b9a013058ac NIGHT AIR: SHIFTING SANDSMichaela Büsse – Granul… full NIGHT AIR: SHIFTING SANDS

Michaela Büsse – Granular Grammar

22 April 2022 – OT301, Amsterdam, The Netherlands


Michaela Büsse’s lecture and performative reading unearths how sand has become one of the Netherlands’ most important resources and focuses on the country’s centuries-long history of land reclamation. She will present clips from her new film that question how an industry that started out as protection against flooding has become serious business. Michaela Büsse is a Research Associate at the Institute of Cultural History and Theory, and Associated Investigator at the excellence cluster ‘Matters of Activity. Image Space Material’ at Humboldt University in Berlin. She is interested in the interplay of material practices, technologies, and geological processes. Digging into the relationship between sand, the history of pollution, and economy, Night Air: Shifting Sands featured an audiovisual work by Félix Blume, talks from scholars Jeff Diamanti and Michaela Büsse, as well as films from Enar de Dios Rodríguez, Maika Garnica, Ans Mertens and Yanjin Wu. In the latter part of the evening, artist Farzané delivered a performance of ‘LÖSS’, before DJs Femi, TAAHLIAH, Snufkin, and Europa took over for the night.


More information about Shifting Sands and its participants can be found at https://sonicacts.com/archive/night-air-shifting-sands


NIGHT AIR

Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations.


CREDITS Curation & production: Sonic Acts

Design: Toni Brell

Video editing: Marie Debarbieux

Sound mastering: Poul Sven de Haan

Hosted on Acast. See acast.com/privacy for more information.

]]> NIGHT AIR: SHIFTING SANDS

Michaela Büsse – Granular Grammar

22 April 2022 – OT301, Amsterdam, The Netherlands


Michaela Büsse’s lecture and performative reading unearths how sand has become one of the Netherlands’ most important resources and focuses on the country’s centuries-long history of land reclamation. She will present clips from her new film that question how an industry that started out as protection against flooding has become serious business. Michaela Büsse is a Research Associate at the Institute of Cultural History and Theory, and Associated Investigator at the excellence cluster ‘Matters of Activity. Image Space Material’ at Humboldt University in Berlin. She is interested in the interplay of material practices, technologies, and geological processes. Digging into the relationship between sand, the history of pollution, and economy, Night Air: Shifting Sands featured an audiovisual work by Félix Blume, talks from scholars Jeff Diamanti and Michaela Büsse, as well as films from Enar de Dios Rodríguez, Maika Garnica, Ans Mertens and Yanjin Wu. In the latter part of the evening, artist Farzané delivered a performance of ‘LÖSS’, before DJs Femi, TAAHLIAH, Snufkin, and Europa took over for the night.


More information about Shifting Sands and its participants can be found at https://sonicacts.com/archive/night-air-shifting-sands


NIGHT AIR

Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations.


CREDITS Curation & production: Sonic Acts

Design: Toni Brell

Video editing: Marie Debarbieux

Sound mastering: Poul Sven de Haan

Hosted on Acast. See acast.com/privacy for more information.

]]> Félix Blume – Desierto Félix Blume – Desierto Fri, 22 Apr 2022 00:00:00 GMT 18:58 tag:soundcloud,2010:tracks/1625801865 false https://soundcloud.com/sonicacts/felix-blume-desierto 67b74fdb7fd241a4ed7bf152 67b74fb8b3ef9b9a013058ac NIGHT AIR: SHIFTING SANDSFélix Blume – Desierto… full NIGHT AIR: SHIFTING SANDS

Félix Blume – Desierto

22 April 2022 – OT301, Amsterdam, The Netherlands


Félix Blume’s talk and ‘Desierto’ (2021, 24’) listening session transported the audience to Altiplano Potosino in central Mexico, a major gold and silver mining hub. Commissioned by ARTE Radio, the piece is filled with recordings from these elevated plains, emphasising that the desert, far from being hostile, is prolific with life. In the audiovisual work and installations of sound artist and engineer Félix Blume, listening emerges as a core tool, a means to encourage the awareness of the imperceptible, and as an act of encounter with others. Blume’s artistic practice is often collaborative, working with communities and using public space as a context within which to explore and present work. Intrigued by myths and their contemporary reinterpretations, he hones in on human dialogues with both inhabited natural and urban environments, tuning into what voices can say beyond words. Blume's pieces have been broadcasted by radio stations around the world. A recipient of the Paysage Sonore Prize for the video piece ‘Curupira, Creature of the Wood’ (2018), Blume was also presented with the Pierre Schaeffer prize for ‘Los Gritos de México’ (2015) at the Phonurgia Nova Awards. He has participated in festivals and exhibitions including LOOP Barcelona, Ex Teresa, Arts Santa Monica, CTM, Thailand Biennale, IFFR, etc. Blume resides between France, Mexico, and Brazil. Digging into the relationship between sand, the history of pollution, and economy, Shifting Sands featured an audiovisual work by Félix Blume, talks from scholars Jeff Diamanti and Michaela Büsse, as well as films from Enar de Dios Rodríguez, Maika Garnica, Ans Mertens and Yanjin Wu. In the latter part of the evening, artist Farzané delivered a performance of ‘LÖSS’, before DJs Femi, TAAHLIAH, Snufkin, and Europa took over for the night.


More information about Shifting Sands and its participants can be found at sonicacts.com/discover/night-air-shifting-sands


NIGHT AIR

Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations.


CREDITS

Curation & production: Sonic Acts

Design: Toni Brell

Video editing: Marie Debarbieux

Sound mastering: Poul Sven de Haan

Hosted on Acast. See acast.com/privacy for more information.

]]> NIGHT AIR: SHIFTING SANDS

Félix Blume – Desierto

22 April 2022 – OT301, Amsterdam, The Netherlands


Félix Blume’s talk and ‘Desierto’ (2021, 24’) listening session transported the audience to Altiplano Potosino in central Mexico, a major gold and silver mining hub. Commissioned by ARTE Radio, the piece is filled with recordings from these elevated plains, emphasising that the desert, far from being hostile, is prolific with life. In the audiovisual work and installations of sound artist and engineer Félix Blume, listening emerges as a core tool, a means to encourage the awareness of the imperceptible, and as an act of encounter with others. Blume’s artistic practice is often collaborative, working with communities and using public space as a context within which to explore and present work. Intrigued by myths and their contemporary reinterpretations, he hones in on human dialogues with both inhabited natural and urban environments, tuning into what voices can say beyond words. Blume's pieces have been broadcasted by radio stations around the world. A recipient of the Paysage Sonore Prize for the video piece ‘Curupira, Creature of the Wood’ (2018), Blume was also presented with the Pierre Schaeffer prize for ‘Los Gritos de México’ (2015) at the Phonurgia Nova Awards. He has participated in festivals and exhibitions including LOOP Barcelona, Ex Teresa, Arts Santa Monica, CTM, Thailand Biennale, IFFR, etc. Blume resides between France, Mexico, and Brazil. Digging into the relationship between sand, the history of pollution, and economy, Shifting Sands featured an audiovisual work by Félix Blume, talks from scholars Jeff Diamanti and Michaela Büsse, as well as films from Enar de Dios Rodríguez, Maika Garnica, Ans Mertens and Yanjin Wu. In the latter part of the evening, artist Farzané delivered a performance of ‘LÖSS’, before DJs Femi, TAAHLIAH, Snufkin, and Europa took over for the night.


More information about Shifting Sands and its participants can be found at sonicacts.com/discover/night-air-shifting-sands


NIGHT AIR

Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations.


CREDITS

Curation & production: Sonic Acts

Design: Toni Brell

Video editing: Marie Debarbieux

Sound mastering: Poul Sven de Haan

Hosted on Acast. See acast.com/privacy for more information.

]]> <![CDATA[Louis Braddock Clarke & Zuzanna Zgierska – Out of Focus]]> Thu, 31 Mar 2022 00:00:00 GMT 43:47 tag:soundcloud,2010:tracks/1627409448 false https://soundcloud.com/sonicacts/louis-braddock-clarke-zuzanna-zgierska-out-of-focus 67b74fdeb6cab9efc4ad7808 67b74fb8b3ef9b9a013058ac Out of Focus: Down the Crimson Cliffs, past the F… full Out of Focus: Down the Crimson Cliffs, past the Fjord of the Dead, over the Signal Mountain by Louis Braddock Clarke & Zuzanna Zgierska

31 March 2022 – Ot301, Amsterdam, The Netherlands


In a talk about their audiovisual project, ‘Out of Focus’, Louis Braddock Clarke and Zuzanna Zgierska track down the widely dispersed fragments of a meteorite that fell thousands of years ago in Imnaminomen, Greenland. Previously hidden under the ice cap, the deposits have become an open invitation for explorative extraction. Their talk stems from field work in the region and brings forth stories that intersect geological events, mineral extraction and postcolonialism. On Thursday 31 March 2022, Sonic Acts continued the event series Night Air with Melting Cores at OT301 in Amsterdam. This gathering got to the heart of matter – a place of reaction and fusion, where insights are generated and imaginations proliferate. Featuring talks, films, performances and DJ sets, Melting Cores explored the politics of climate archiving, elemental collapse, and the (de)centralisation of cultural perspectives.


NIGHT AIR

Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations.


CREDITS

Curation & production: Sonic Acts

Design: Toni Brell https://tonibrell.de

Video: Marie Debarbieux https://mariedebarbieux.wixsite.com

Sound mastering: Poul Sven de Haan faboem.nl

Hosted on Acast. See acast.com/privacy for more information.

]]> Out of Focus: Down the Crimson Cliffs, past the Fjord of the Dead, over the Signal Mountain by Louis Braddock Clarke & Zuzanna Zgierska

31 March 2022 – Ot301, Amsterdam, The Netherlands


In a talk about their audiovisual project, ‘Out of Focus’, Louis Braddock Clarke and Zuzanna Zgierska track down the widely dispersed fragments of a meteorite that fell thousands of years ago in Imnaminomen, Greenland. Previously hidden under the ice cap, the deposits have become an open invitation for explorative extraction. Their talk stems from field work in the region and brings forth stories that intersect geological events, mineral extraction and postcolonialism. On Thursday 31 March 2022, Sonic Acts continued the event series Night Air with Melting Cores at OT301 in Amsterdam. This gathering got to the heart of matter – a place of reaction and fusion, where insights are generated and imaginations proliferate. Featuring talks, films, performances and DJ sets, Melting Cores explored the politics of climate archiving, elemental collapse, and the (de)centralisation of cultural perspectives.


NIGHT AIR

Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations.


CREDITS

Curation & production: Sonic Acts

Design: Toni Brell https://tonibrell.de

Video: Marie Debarbieux https://mariedebarbieux.wixsite.com

Sound mastering: Poul Sven de Haan faboem.nl

Hosted on Acast. See acast.com/privacy for more information.

]]> Elena Cohen – Sonic Weapons and Policing: A New York City Case Study Elena Cohen – Sonic Weapons and Policing: A New York City Case Study Fri, 05 Nov 2021 00:00:00 GMT 18:41 tag:soundcloud,2010:tracks/1627749177 false https://soundcloud.com/sonicacts/elena-cohen-sonic-weapons-and-policing-a-new-york-city-case-study 67b74fd7b6cab9efc4ad69d6 67b74fb8b3ef9b9a013058ac NIGHT AIR: SHOCK WAVESElena Cohen – Sonic Weapon… full NIGHT AIR: SHOCK WAVES

Elena Cohen – Sonic Weapons and Policing: A New York City Case Study

5 November 2021 – OT301, Amsterdam, The Netherlands


Sonic weapons like the Long-Range Acoustic Device (LRAD), ‘roof knocking’, or ‘music torture’ are frequently used as part of the arsenal of state violence. During Night Air: Shock Waves, Elena Cohen presented a series of case studies demonstrating how these tools are deployed in protest, detention, and warfare, causing a range of harm from disorientation and psychological distress to permanent internal damage. Elena L. Cohen is an attorney and professor. She is a founding partner of Cohen Green PLLC (‘Femme Law’), a small firm serving the needs of the New York City queer and activist communities. She teaches law classes to undergraduate students within the City University of New York system, and joined the faculty of Kline School of Law in 2022. She has litigated many high-profile cases, and is currently counsel for Sow v. City of New York, which challenges police practices related to the policing of Summer 2020 protests for Black Lives. She was lead counsel of Edrei v. City of N.Y. – a suit challenging the New York Police Department’s use of Long-Range Acoustic Devices (LRAD), which resulted in substantial policy reform. Her publications focus on sexuality, sound, and comparative constitutions. Shock Waves is an evening event that considered the materiality of sound as a powerful means of resistance and control. The programme included talks by María Edurne Zuazu, Elena Cohen, and Yann Leguay, films by Aura Satz, an installation by Paula Montecinos and Pedro Matias, along with a performance by White Rose, and DJ set by Noise Diva.


More information about Shock Waves and its participants can be found at https://sonicacts.com/archive/night-air-shock-waves


NIGHT AIR

Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations.


CREDITS

Curation & production: Sonic Acts

Design: Toni Brell https://tonibrell.de

Video: Marie Debarbieux https://mariedebarbieux.wixsite.com

Sound mastering: Poul Sven de Haan http://faboem.nl

Hosted on Acast. See acast.com/privacy for more information.

]]> NIGHT AIR: SHOCK WAVES

Elena Cohen – Sonic Weapons and Policing: A New York City Case Study

5 November 2021 – OT301, Amsterdam, The Netherlands


Sonic weapons like the Long-Range Acoustic Device (LRAD), ‘roof knocking’, or ‘music torture’ are frequently used as part of the arsenal of state violence. During Night Air: Shock Waves, Elena Cohen presented a series of case studies demonstrating how these tools are deployed in protest, detention, and warfare, causing a range of harm from disorientation and psychological distress to permanent internal damage. Elena L. Cohen is an attorney and professor. She is a founding partner of Cohen Green PLLC (‘Femme Law’), a small firm serving the needs of the New York City queer and activist communities. She teaches law classes to undergraduate students within the City University of New York system, and joined the faculty of Kline School of Law in 2022. She has litigated many high-profile cases, and is currently counsel for Sow v. City of New York, which challenges police practices related to the policing of Summer 2020 protests for Black Lives. She was lead counsel of Edrei v. City of N.Y. – a suit challenging the New York Police Department’s use of Long-Range Acoustic Devices (LRAD), which resulted in substantial policy reform. Her publications focus on sexuality, sound, and comparative constitutions. Shock Waves is an evening event that considered the materiality of sound as a powerful means of resistance and control. The programme included talks by María Edurne Zuazu, Elena Cohen, and Yann Leguay, films by Aura Satz, an installation by Paula Montecinos and Pedro Matias, along with a performance by White Rose, and DJ set by Noise Diva.


More information about Shock Waves and its participants can be found at https://sonicacts.com/archive/night-air-shock-waves


NIGHT AIR

Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations.


CREDITS

Curation & production: Sonic Acts

Design: Toni Brell https://tonibrell.de

Video: Marie Debarbieux https://mariedebarbieux.wixsite.com

Sound mastering: Poul Sven de Haan http://faboem.nl

Hosted on Acast. See acast.com/privacy for more information.

]]> Yann Leguay – Technical Involution Yann Leguay – Technical Involution Fri, 05 Nov 2021 00:00:00 GMT 36:53 tag:soundcloud,2010:tracks/1627751622 false https://soundcloud.com/sonicacts/yann-leguay-technical-involution 67b74fdaaf08fb18338cbd70 67b74fb8b3ef9b9a013058ac NIGHT AIR: SHOCK WAVESTechnical Involution by Ya… full NIGHT AIR: SHOCK WAVES

Technical Involution by Yann Leguay

5 November 2021 – OT301, Amsterdam, The Netherlands


In his lecture ‘Technical Involution’, artist Yann Leguay speaks to the dematerialisation of sound and the evolving effects of interfaces. He follows with a performance of ‘Volta’, based on an electrical arc produced by a plasma speaker so powerful that it emanates magnetic disturbance. Yann Leguay’s work focuses on the notions of dematerialisation, the use of interfaces and the materiality of sound. He has been called a ‘media saboteur’ by the Consumer Waste label, seeking to fold the sound materiality in on itself using basic means in the form of objects, videos, and performances. Since 2007, he has also been producing installations, sculptures, and publications that integrate a critical approach to the meaning of technological evolution. In concerts he pushes the boundaries of accepted norms of audio behaviour, using uncommon machinery for the playback of audio media: opened hard-drives as turntables, an angle grinder as a microphone, the sound of the electricity, etc. His records are equally unusual: readable silkscreen record, a 7” single without a central hole, or a record composed from recordings of vinyl being scratched by scalpel. In an evening of talks, performances and films, Shock Waves considered the materiality of sound as a powerful means of resistance and control. The programme included talks by María Edurne Zuazu, Elena Cohen, and Yann Leguay, films by Aura Satz, an installation by Paula Montecinos and Pedro Matias, along with a performance by White Rose, and DJ set by Noise Diva.


NIGHT AIR

Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations.


More information about Shock Waves and its participants can be found at https://sonicacts.com/archive/night-air-shock-waves


CREDITS

Curation & production: Sonic Acts

Design: Toni Brell https://tonibrell.de

Video editing: Marie Debarbieux https://mariedebarbieux.wixsite.com

Sound mastering: Poul Sven de Haan faboem.nl

Hosted on Acast. See acast.com/privacy for more information.

]]> NIGHT AIR: SHOCK WAVES

Technical Involution by Yann Leguay

5 November 2021 – OT301, Amsterdam, The Netherlands


In his lecture ‘Technical Involution’, artist Yann Leguay speaks to the dematerialisation of sound and the evolving effects of interfaces. He follows with a performance of ‘Volta’, based on an electrical arc produced by a plasma speaker so powerful that it emanates magnetic disturbance. Yann Leguay’s work focuses on the notions of dematerialisation, the use of interfaces and the materiality of sound. He has been called a ‘media saboteur’ by the Consumer Waste label, seeking to fold the sound materiality in on itself using basic means in the form of objects, videos, and performances. Since 2007, he has also been producing installations, sculptures, and publications that integrate a critical approach to the meaning of technological evolution. In concerts he pushes the boundaries of accepted norms of audio behaviour, using uncommon machinery for the playback of audio media: opened hard-drives as turntables, an angle grinder as a microphone, the sound of the electricity, etc. His records are equally unusual: readable silkscreen record, a 7” single without a central hole, or a record composed from recordings of vinyl being scratched by scalpel. In an evening of talks, performances and films, Shock Waves considered the materiality of sound as a powerful means of resistance and control. The programme included talks by María Edurne Zuazu, Elena Cohen, and Yann Leguay, films by Aura Satz, an installation by Paula Montecinos and Pedro Matias, along with a performance by White Rose, and DJ set by Noise Diva.


NIGHT AIR

Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations.


More information about Shock Waves and its participants can be found at https://sonicacts.com/archive/night-air-shock-waves


CREDITS

Curation & production: Sonic Acts

Design: Toni Brell https://tonibrell.de

Video editing: Marie Debarbieux https://mariedebarbieux.wixsite.com

Sound mastering: Poul Sven de Haan faboem.nl

Hosted on Acast. See acast.com/privacy for more information.

]]> María Edurne Zuazu – Between Shouting and Shooting María Edurne Zuazu – Between Shouting and Shooting Fri, 05 Nov 2021 00:00:00 GMT 15:06 tag:soundcloud,2010:tracks/1627741311 false https://soundcloud.com/sonicacts/maria-edurne-zuazu-between-shouting-and-shooting 67b74fdbb6cab9efc4ad6a73 67b74fb8b3ef9b9a013058ac NIGHT AIR: SHOCK WAVESMaría Edurne Zuazu – Betwe… full NIGHT AIR: SHOCK WAVES

María Edurne Zuazu – Between Shouting and Shooting

5 November 2021 – OT301, Amsterdam, The Netherlands


In her talk ‘Between Shouting and Shooting’, María Edurne Zuazu introduces sonic weapons like the Long-Range Acoustic Device (LRAD), ‘roof knocking’, or ‘music torture', which rely on high-intensity and focused sound to suppress individuals by impairing their auditory systems. María Edurne Zuazu works in music, sound, and media studies, researching the intersections of material culture and sonic practices in relation to questions of cultural memory, social and environmental justice, and the production of knowledge (and of ignorance) in the West during the 20th and 21st centuries. Zuazu has presented on topics ranging from sound and multimedia art and obsolete musical instruments, to military aircraft sound and popular music, and published on the topics of telenovelas, weaponised uses of sound, music and historical memory, audio surveillance, and music videos. She received her PhD in Music from The CUNY Graduate Center, and has been the recipient of Fulbright and Fundación La Caixa fellowships, as well as a Postdoctoral Fellow at the Society for the Humanities at Cornell University. Shock Waves is an evening event that considered the materiality of sound as a powerful means of resistance and control. The programme included talks by María Edurne Zuazu, Elena Cohen, and Yann Leguay, films by Aura Satz, an installation by Paula Montecinos and Pedro Matias, along with a performance by White Rose, and DJ set by Noise Diva.


More information about Shock Waves and its participants can be found at https://sonicacts.com/archive/night-air-shock-waves


NIGHT AIR

Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations.


CREDITS

Curation & production: Sonic Acts

Design: Toni Brell https://tonibrell.de

Video: Marie Debarbieux https://mariedebarbieux.wixsite.com

Sound mastering: Poul Sven de Haan http://faboem.nl

Hosted on Acast. See acast.com/privacy for more information.

]]> NIGHT AIR: SHOCK WAVES

María Edurne Zuazu – Between Shouting and Shooting

5 November 2021 – OT301, Amsterdam, The Netherlands


In her talk ‘Between Shouting and Shooting’, María Edurne Zuazu introduces sonic weapons like the Long-Range Acoustic Device (LRAD), ‘roof knocking’, or ‘music torture', which rely on high-intensity and focused sound to suppress individuals by impairing their auditory systems. María Edurne Zuazu works in music, sound, and media studies, researching the intersections of material culture and sonic practices in relation to questions of cultural memory, social and environmental justice, and the production of knowledge (and of ignorance) in the West during the 20th and 21st centuries. Zuazu has presented on topics ranging from sound and multimedia art and obsolete musical instruments, to military aircraft sound and popular music, and published on the topics of telenovelas, weaponised uses of sound, music and historical memory, audio surveillance, and music videos. She received her PhD in Music from The CUNY Graduate Center, and has been the recipient of Fulbright and Fundación La Caixa fellowships, as well as a Postdoctoral Fellow at the Society for the Humanities at Cornell University. Shock Waves is an evening event that considered the materiality of sound as a powerful means of resistance and control. The programme included talks by María Edurne Zuazu, Elena Cohen, and Yann Leguay, films by Aura Satz, an installation by Paula Montecinos and Pedro Matias, along with a performance by White Rose, and DJ set by Noise Diva.


More information about Shock Waves and its participants can be found at https://sonicacts.com/archive/night-air-shock-waves


NIGHT AIR

Night Air is a series of Sonic Acts events that aim to make pollution visible by bringing forth the various side-effects of modernity: from exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, capitalist practices that shape both our environment and human-nonhuman relations.


CREDITS

Curation & production: Sonic Acts

Design: Toni Brell https://tonibrell.de

Video: Marie Debarbieux https://mariedebarbieux.wixsite.com

Sound mastering: Poul Sven de Haan http://faboem.nl

Hosted on Acast. See acast.com/privacy for more information.

]]> Night Air: Soil Samples Night Air: Soil Samples Wed, 21 Apr 2021 00:00:00 GMT 2:18:08 tag:soundcloud,2010:tracks/1630481955 false https://soundcloud.com/sonicacts/night-air-soil-samples-1 67b74fe16f2e96290c867092 67b74fb8b3ef9b9a013058ac NIGHT AIR: SOIL SAMPLES24 April 2021 - Online Tr… full NIGHT AIR: SOIL SAMPLES

24 April 2021 - Online Transmission


Soil Samples gathers four artists and researchers for performances, presentations and discussions addressing the topic of soil and its geopolitical, colonial, and bodily entanglements. The panel is made up of sound artist Felicity Mangan, researcher and 'tiny miner' Martin Howse, biogeochemist and critical ecologist Kunal Palawat working in tandem with visual artist Dorsey Kaufmann. The event was transmitted online from Rotterdam on Saturday 24 April 2021, with participants and the audience joining from various locations worldwide.


FELICITY MANGAN

Felicity Mangan is an Australian sound artist and composer based in Berlin since 2008. In different situations, from solo performances and installations to collaborative projects with other artists, Felicity plays with the timbre of animal voices and field recordings to create minimal quasi-bioacoustic environments. Recently, the artist has been exploring the fundamentals of soil life and interspecies creativity, delving into soil’s soundscape, equipped with sensors and imagination.


MARTIN HOWSE

Martin Howse is occupied with an investigation of the links between the earth, software and the human psyche through the construction of experimental situations, material artworks and texts. From 1998 to 2005 Howse was director of ap, a software performance group working with electronic waste, pioneering an early approach to digital glitch. For the last ten years, he has initiated numerous open-laboratory style projects and performed, published, lectured and exhibited worldwide.


KUNAL PALAWAT

Kunal Palawat is a terrestrial biogeochemist and critical ecologist currently working at the intersections of pollution, community-based research, data science, and environmental justice at the University of Arizona on occupied Tohono O’odham and Pascua Yaqui lands (so-called Tucson) in the Ramírez-Andreotta Lab. They are also a Lab Manager and Research Associate with the Critical Ecology Lab, a non-profit research and education container striving to explicitly connect systems of oppression/liberation to global change.


DORSEY KAUFMANN

Dorsey Kaufmann actively challenges disciplinary boundaries by making work at the intersection of art, environmental science, and politics. She primarily works in time-based media; including video, performance, animation, and 3-D installations. Her practice examines the conflict among corporations, governments, and community health. Her work visualises how these tensions and perceptions constantly define and redefine our built environment.


NIGHT AIR

Night Air is a series of online transmissions from Sonic Acts that aims to make pollution visible by bringing forth the various side-effects of modernity: from colonial exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, destructive capitalist practices that shape both our environment and human-nonhuman relations.


More information about Soil Samples and its participants can be found at https://bit.ly/3H6YTbH.


CREDITS

Production: Sonic Acts

Host: Margarita Osipian

Visual design: Deborah Mora

Sound design: Igor Dubreucq

Additional help: Mark den Hoed, Karl Klomp, Karl Moubarak and Jorg Schellekens, as well as Hackers and Designers and The Hmm.


Part of Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union. Sonic Acts is supported by Creative Industries Fund NL, Amsterdam Fund for the Arts (AFK) and Paradiso.

Hosted on Acast. See acast.com/privacy for more information.

]]> NIGHT AIR: SOIL SAMPLES

24 April 2021 - Online Transmission


Soil Samples gathers four artists and researchers for performances, presentations and discussions addressing the topic of soil and its geopolitical, colonial, and bodily entanglements. The panel is made up of sound artist Felicity Mangan, researcher and 'tiny miner' Martin Howse, biogeochemist and critical ecologist Kunal Palawat working in tandem with visual artist Dorsey Kaufmann. The event was transmitted online from Rotterdam on Saturday 24 April 2021, with participants and the audience joining from various locations worldwide.


FELICITY MANGAN

Felicity Mangan is an Australian sound artist and composer based in Berlin since 2008. In different situations, from solo performances and installations to collaborative projects with other artists, Felicity plays with the timbre of animal voices and field recordings to create minimal quasi-bioacoustic environments. Recently, the artist has been exploring the fundamentals of soil life and interspecies creativity, delving into soil’s soundscape, equipped with sensors and imagination.


MARTIN HOWSE

Martin Howse is occupied with an investigation of the links between the earth, software and the human psyche through the construction of experimental situations, material artworks and texts. From 1998 to 2005 Howse was director of ap, a software performance group working with electronic waste, pioneering an early approach to digital glitch. For the last ten years, he has initiated numerous open-laboratory style projects and performed, published, lectured and exhibited worldwide.


KUNAL PALAWAT

Kunal Palawat is a terrestrial biogeochemist and critical ecologist currently working at the intersections of pollution, community-based research, data science, and environmental justice at the University of Arizona on occupied Tohono O’odham and Pascua Yaqui lands (so-called Tucson) in the Ramírez-Andreotta Lab. They are also a Lab Manager and Research Associate with the Critical Ecology Lab, a non-profit research and education container striving to explicitly connect systems of oppression/liberation to global change.


DORSEY KAUFMANN

Dorsey Kaufmann actively challenges disciplinary boundaries by making work at the intersection of art, environmental science, and politics. She primarily works in time-based media; including video, performance, animation, and 3-D installations. Her practice examines the conflict among corporations, governments, and community health. Her work visualises how these tensions and perceptions constantly define and redefine our built environment.


NIGHT AIR

Night Air is a series of online transmissions from Sonic Acts that aims to make pollution visible by bringing forth the various side-effects of modernity: from colonial exploitation of people and resources to perpetual inequalities brought about by the destruction of the environment and common land – in other words, destructive capitalist practices that shape both our environment and human-nonhuman relations.


More information about Soil Samples and its participants can be found at https://bit.ly/3H6YTbH.


CREDITS

Production: Sonic Acts

Host: Margarita Osipian

Visual design: Deborah Mora

Sound design: Igor Dubreucq

Additional help: Mark den Hoed, Karl Klomp, Karl Moubarak and Jorg Schellekens, as well as Hackers and Designers and The Hmm.


Part of Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union. Sonic Acts is supported by Creative Industries Fund NL, Amsterdam Fund for the Arts (AFK) and Paradiso.

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]]> Exhaust – A Roundtable Discussion on Oil and Data Exhaust – A Roundtable Discussion on Oil and Data Sat, 27 Feb 2021 00:00:00 GMT 1:33:58 tag:soundcloud,2010:tracks/1630488399 false https://soundcloud.com/sonicacts/exhaust-a-roundtable-discussion-on-oil-and-data 67b74fd57fd241a4ed7bf046 67b74fb8b3ef9b9a013058ac EXHAUST – A ROUNDTABLE DISCUSSION ON OIL AND DATA… full EXHAUST – A ROUNDTABLE DISCUSSION ON OIL AND DATA

27 February 2021 - Online Transmission Curated by Sonic Acts


OVEREXPOSED artistic research resident, writer and theorist Maryam Monalisa Gharavi, Exhaust features political and environmental anthropologist Omolade Adunbi, media artist and programmer Ryan Kuo, artist and geographer Helen Pritchard and interdisciplinary researcher Andrea Sempértegui, as well as moderation by critic, curator and art historian Murtaza Vali. The event was transmitted online from Rotterdam on Saturday 27 February 2021, with participants and the audience joining from various locations worldwide. Propelled by the phrase ‘data is the new oil’, coined in 2006 by British mathematician (and customer loyalty card inventor) Clive Humby, Exhaust draws on the insights of eminent academic thinkers and influential practitioners to speculate, critique and make visible the cultural geography of oil and data.


CREDITS

Production: Sonic Acts & Maryam Monalisa Gharavi

Host: Margarita Osipian

Additional help: Danne Hekman, Mark den Hoed, Karl Klomp, Karl Moubarak, Roc Jiménez de Cisneros, as well as Hackers & Designers and The Hmm.


Part of Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union. Sonic Acts is supported by Creative Industries Fund NL, Amsterdam Fund for the Arts (AFK) and Paradiso.

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]]> EXHAUST – A ROUNDTABLE DISCUSSION ON OIL AND DATA

27 February 2021 - Online Transmission Curated by Sonic Acts


OVEREXPOSED artistic research resident, writer and theorist Maryam Monalisa Gharavi, Exhaust features political and environmental anthropologist Omolade Adunbi, media artist and programmer Ryan Kuo, artist and geographer Helen Pritchard and interdisciplinary researcher Andrea Sempértegui, as well as moderation by critic, curator and art historian Murtaza Vali. The event was transmitted online from Rotterdam on Saturday 27 February 2021, with participants and the audience joining from various locations worldwide. Propelled by the phrase ‘data is the new oil’, coined in 2006 by British mathematician (and customer loyalty card inventor) Clive Humby, Exhaust draws on the insights of eminent academic thinkers and influential practitioners to speculate, critique and make visible the cultural geography of oil and data.


CREDITS

Production: Sonic Acts & Maryam Monalisa Gharavi

Host: Margarita Osipian

Additional help: Danne Hekman, Mark den Hoed, Karl Klomp, Karl Moubarak, Roc Jiménez de Cisneros, as well as Hackers & Designers and The Hmm.


Part of Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union. Sonic Acts is supported by Creative Industries Fund NL, Amsterdam Fund for the Arts (AFK) and Paradiso.

Hosted on Acast. See acast.com/privacy for more information.

]]> Sonic Acts 2020: Nadim Samman – As We Used to Float / Iroojrilik Sonic Acts 2020: Nadim Samman – As We Used to Float / Iroojrilik Thu, 18 Jun 2020 08:30:32 GMT 37:59 tag:soundcloud,2010:tracks/799270525 false https://soundcloud.com/sonicacts/nadim-samman-as-we-used-to 67b74fd8af08fb18338cbd02 67b74fb8b3ef9b9a013058ac SONIC ACTS ACADEMY 2020Nadim Samman – As We Used… full SONIC ACTS ACADEMY 2020

Nadim Samman – As We Used to Float / Iroojrilik

23 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


Curator Nadim Samman gives a performative lecture that takes to the psychology and aesthetic of the sea, drawing on his explorer’s path through art as co-founder of the Antarctic Pavilion at the Venice Biennale in 2015 and 1st Antarctic Biennale in 2017. His work has carried him from Moscow to Marrakech to Lima, uncovering the secrets of remote art and the mutual exchange that evolves from that act. Straddling the genres of travelogue and critical essay, As We Used to Float: Within Bikini Atoll (2018, co-written with artist Julian Charrière), explores Bikini Atoll as a space of fantasy and trauma. Toggling between a personal account of a sea journey, above and below water, and a critical investigation of postcolonial geography, the book develops broader reflections on place and subjectivity. These spring from a series of narrative immersions, variously, taking on the psychological and aesthetic parameters of ultra-deep scuba diving, the abject poetics of sea craft and the stakes of subaquatic image-making. As We Used to Float is a sea-story for our time. This performative lecture combines reading from the book with a screening of Julian Charrière’s video work, Iroojrilik (2018).


Nadim Samman is a curator and art historian based in Berlin. He read Philosophy at University College London before receiving his PhD from the Courtauld Institute of Art. He co-founded the 1st Antarctic Biennale in 2017 and the Antarctic Pavilion at the Venice Biennale in 2015. In 2016 he curated the 5th Moscow International Biennale for Young Art, and in 2012, the 4th Marrakech Biennale (with Carson Chan). Other major projects include Treasure of Lima: A Buried Exhibition (a unique site-specific exhibition on the remote Pacific island of Isla del Coco) and Rare Earth (at Thyssen-Bornemisza Art Contemporary, Vienna). In 2019 he won the International Awards for Art Criticism’s first prize.

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]]> SONIC ACTS ACADEMY 2020

Nadim Samman – As We Used to Float / Iroojrilik

23 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


Curator Nadim Samman gives a performative lecture that takes to the psychology and aesthetic of the sea, drawing on his explorer’s path through art as co-founder of the Antarctic Pavilion at the Venice Biennale in 2015 and 1st Antarctic Biennale in 2017. His work has carried him from Moscow to Marrakech to Lima, uncovering the secrets of remote art and the mutual exchange that evolves from that act. Straddling the genres of travelogue and critical essay, As We Used to Float: Within Bikini Atoll (2018, co-written with artist Julian Charrière), explores Bikini Atoll as a space of fantasy and trauma. Toggling between a personal account of a sea journey, above and below water, and a critical investigation of postcolonial geography, the book develops broader reflections on place and subjectivity. These spring from a series of narrative immersions, variously, taking on the psychological and aesthetic parameters of ultra-deep scuba diving, the abject poetics of sea craft and the stakes of subaquatic image-making. As We Used to Float is a sea-story for our time. This performative lecture combines reading from the book with a screening of Julian Charrière’s video work, Iroojrilik (2018).


Nadim Samman is a curator and art historian based in Berlin. He read Philosophy at University College London before receiving his PhD from the Courtauld Institute of Art. He co-founded the 1st Antarctic Biennale in 2017 and the Antarctic Pavilion at the Venice Biennale in 2015. In 2016 he curated the 5th Moscow International Biennale for Young Art, and in 2012, the 4th Marrakech Biennale (with Carson Chan). Other major projects include Treasure of Lima: A Buried Exhibition (a unique site-specific exhibition on the remote Pacific island of Isla del Coco) and Rare Earth (at Thyssen-Bornemisza Art Contemporary, Vienna). In 2019 he won the International Awards for Art Criticism’s first prize.

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]]> <![CDATA[Sonic Acts 2020: Dehlia Hannah – Cloud Walking: Meditations on 'A Year Without a Winter']]> Mon, 15 Jun 2020 08:30:40 GMT 44:54 tag:soundcloud,2010:tracks/799273264 false https://soundcloud.com/sonicacts/dehlia-hannah-cloud-walking 67b74fe06f2e96290c867067 67b74fb8b3ef9b9a013058ac SONIC ACTS ACADEMY 2020Dehlia Hannah – Cloud Wal… full SONIC ACTS ACADEMY 2020

Dehlia Hannah – Cloud Walking: Meditations on 'A Year Without a Winter'

23 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


Lauded curator and professor Dehlia Hannah delivers a lecture stemming from her environment-focussed publications and research projects. The meeting point of climate change and art – from the volcanic eruption that led to Mary Shelley’s Frankenstein to Paolo Soleri’s utopian architecture in experimental town Arcosanti – is an estuary that for Hannah yields imaginary places, creatures and technologies. In her talk Cloud Walking: Meditations on ​‘A Year Without a Winter’, Hannah enters into the discussion of how, as the world warms and seasonal patterns betray historical records, we are called to rethink key concepts of environments that we inhabit both physically and imaginatively. From regional weather systems to the lived abstraction of a global climate, rising mean temperature, shifting shorelines, disturbed migratory routes and phenological clocks, to new avenues of economic exploitation and militarisation, the boundaries of our environs are open to radical contestation. Published two hundred years after Mary Shelley’s Frankenstein; or: The Modern Prometheus – which was written amidst a global climate cooling crisis remembered as the ​‘year without a summer’ – Hannah’s book A Year Without a Winter (2018) and associated exhibitions explore the literary and visual aftermaths of the 1815 eruption of Mount Tambora, in parallel with emerging narratives of environmental crisis. In this talk Hannah moves through a series of clouds generated by historical events, literature and visual art – volcanic eruptions, poems, climate models, smoke bombs and burning jungles – in search of a new way of conceptualising climate that is responsive to contemporary atmospheric conditions.


Dehlia Hannah is a philosopher of science and curator. She holds a PhD in Philosophy from Columbia University, with specialisations in philosophy of science, aesthetics and philosophy of nature. Presently, she is Mads Øvlisen Postdoctoral Fellow in Art and Natural Sciences at Aalborg University-Copenhagen and Visiting Assistant Professor at the University of Toronto’s Daniels Faculty of Architecture, Landscape and Design. Her forthcoming monograph Performative Experiments examines contemporary artworks that take the form of scientific experiments. Her book, A Year Without a Winter (2018), reframes contemporary imaginaries of climate crisis by revisiting the literary and environmental aftermath of the 1815 eruption of Mount Tambora. Among her recent exhibitions are Emerge: Frankenstein (2017), Control | Experiment (2016) and Placing the Golden Spike: Landscapes of the Anthropocene (2015). Her current research examines the role of imaginary places, creatures and technologies in the history of philosophy.

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]]> SONIC ACTS ACADEMY 2020

Dehlia Hannah – Cloud Walking: Meditations on 'A Year Without a Winter'

23 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


Lauded curator and professor Dehlia Hannah delivers a lecture stemming from her environment-focussed publications and research projects. The meeting point of climate change and art – from the volcanic eruption that led to Mary Shelley’s Frankenstein to Paolo Soleri’s utopian architecture in experimental town Arcosanti – is an estuary that for Hannah yields imaginary places, creatures and technologies. In her talk Cloud Walking: Meditations on ​‘A Year Without a Winter’, Hannah enters into the discussion of how, as the world warms and seasonal patterns betray historical records, we are called to rethink key concepts of environments that we inhabit both physically and imaginatively. From regional weather systems to the lived abstraction of a global climate, rising mean temperature, shifting shorelines, disturbed migratory routes and phenological clocks, to new avenues of economic exploitation and militarisation, the boundaries of our environs are open to radical contestation. Published two hundred years after Mary Shelley’s Frankenstein; or: The Modern Prometheus – which was written amidst a global climate cooling crisis remembered as the ​‘year without a summer’ – Hannah’s book A Year Without a Winter (2018) and associated exhibitions explore the literary and visual aftermaths of the 1815 eruption of Mount Tambora, in parallel with emerging narratives of environmental crisis. In this talk Hannah moves through a series of clouds generated by historical events, literature and visual art – volcanic eruptions, poems, climate models, smoke bombs and burning jungles – in search of a new way of conceptualising climate that is responsive to contemporary atmospheric conditions.


Dehlia Hannah is a philosopher of science and curator. She holds a PhD in Philosophy from Columbia University, with specialisations in philosophy of science, aesthetics and philosophy of nature. Presently, she is Mads Øvlisen Postdoctoral Fellow in Art and Natural Sciences at Aalborg University-Copenhagen and Visiting Assistant Professor at the University of Toronto’s Daniels Faculty of Architecture, Landscape and Design. Her forthcoming monograph Performative Experiments examines contemporary artworks that take the form of scientific experiments. Her book, A Year Without a Winter (2018), reframes contemporary imaginaries of climate crisis by revisiting the literary and environmental aftermath of the 1815 eruption of Mount Tambora. Among her recent exhibitions are Emerge: Frankenstein (2017), Control | Experiment (2016) and Placing the Golden Spike: Landscapes of the Anthropocene (2015). Her current research examines the role of imaginary places, creatures and technologies in the history of philosophy.

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]]> Sonic Acts 2020: Lukáš Likavčan – Introduction to Comparative Planetology Sonic Acts 2020: Lukáš Likavčan – Introduction to Comparative Planetology Thu, 11 Jun 2020 08:30:58 GMT 39:54 tag:soundcloud,2010:tracks/799272034 false https://soundcloud.com/sonicacts/lukas-likavcan-introduction-to 67b74fd3b6cab9efc4ad6944 67b74fb8b3ef9b9a013058ac SONIC ACTS ACADEMY 2020Lukáš Likavčan – Introduc… full SONIC ACTS ACADEMY 2020

Lukáš Likavčan – Introduction to Comparative Planetology

23 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


Errata: The lecturer would like to correct the crediting for Holly Herndon's 'Extreme Love’ track from her PROTO album and add co-authors Jenna Sutela and Lilly Anna Haynes. Theorist Lukáš Likavčan collaborates on art projects, including the simulation alt’ai, questioning machine protocols in communicating with environments. Exploring imaginations of Earth from the impersonal, totalising view to one in which humans are environmental accidents at home anywhere, he finds resonance in a line from Holly Herndon’s Extreme Love (2019): ​‘We are completely outside ourselves, and the world is completely inside us.’ In his lecture Introduction to Comparative Planetology, Likavčan looks into how as a philosophical genre, comparative planetology presents an intertwined analysis of visual cultures of imagining the Earth and geopolitics of climate emergency. It compares different ​‘figures’ of the planet – the Planetary, the Globe, the Terrestrial, Earth-without-us and Spectral Earth. These five figures function simultaneously as visual paradigms, geopolitical regimes and design briefs; each of them has different prospects in guiding our interventions against runaway global heating, and ultimately against mass species extinction. While engaging in this conceptual, cosmological endeavour, comparative planetology seeks to become one of the navigational tools in plotting our way out of the impasse of modernity.


Lukáš Likavčan is a researcher and theorist who writes on the philosophy of technology and political ecology. Concluding his PhD in environmental studies at Masaryk University, Brno, he now teaches at Centre for Audiovisual Studies at FAMU in Prague and Strelka Institute for Media, Architecture and Design in Moscow, a graduate of their experimental New Normal programme. As a researcher, he was based at Vienna University of Economics and Business, Hong Kong Polytechnic University and BAK – basis voor actuele kunst, Utrecht. Oscillating between academic practice and a broad zone between art and design, he focuses on infrastructural conditions of subjectivity, abstraction and imagination. Likavčan just released a book Introduction to Comparative Planetology (2019, Strelka Press) that presents an analysis of visual cultures of imagining the Earth and the geopolitics of climate emergency.

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]]> SONIC ACTS ACADEMY 2020

Lukáš Likavčan – Introduction to Comparative Planetology

23 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


Errata: The lecturer would like to correct the crediting for Holly Herndon's 'Extreme Love’ track from her PROTO album and add co-authors Jenna Sutela and Lilly Anna Haynes. Theorist Lukáš Likavčan collaborates on art projects, including the simulation alt’ai, questioning machine protocols in communicating with environments. Exploring imaginations of Earth from the impersonal, totalising view to one in which humans are environmental accidents at home anywhere, he finds resonance in a line from Holly Herndon’s Extreme Love (2019): ​‘We are completely outside ourselves, and the world is completely inside us.’ In his lecture Introduction to Comparative Planetology, Likavčan looks into how as a philosophical genre, comparative planetology presents an intertwined analysis of visual cultures of imagining the Earth and geopolitics of climate emergency. It compares different ​‘figures’ of the planet – the Planetary, the Globe, the Terrestrial, Earth-without-us and Spectral Earth. These five figures function simultaneously as visual paradigms, geopolitical regimes and design briefs; each of them has different prospects in guiding our interventions against runaway global heating, and ultimately against mass species extinction. While engaging in this conceptual, cosmological endeavour, comparative planetology seeks to become one of the navigational tools in plotting our way out of the impasse of modernity.


Lukáš Likavčan is a researcher and theorist who writes on the philosophy of technology and political ecology. Concluding his PhD in environmental studies at Masaryk University, Brno, he now teaches at Centre for Audiovisual Studies at FAMU in Prague and Strelka Institute for Media, Architecture and Design in Moscow, a graduate of their experimental New Normal programme. As a researcher, he was based at Vienna University of Economics and Business, Hong Kong Polytechnic University and BAK – basis voor actuele kunst, Utrecht. Oscillating between academic practice and a broad zone between art and design, he focuses on infrastructural conditions of subjectivity, abstraction and imagination. Likavčan just released a book Introduction to Comparative Planetology (2019, Strelka Press) that presents an analysis of visual cultures of imagining the Earth and the geopolitics of climate emergency.

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]]> Sonic Acts 2020: DESIGN EARTH: Rania Ghosn – Geostories Sonic Acts 2020: DESIGN EARTH: Rania Ghosn – Geostories Mon, 08 Jun 2020 08:30:18 GMT 40:58 tag:soundcloud,2010:tracks/799275034 false https://soundcloud.com/sonicacts/design-earth-rania-ghosn 67b74fdd6f2e96290c867012 67b74fb8b3ef9b9a013058ac SONIC ACTS ACADEMY 2020DESIGN EARTH: Rania Ghosn… full SONIC ACTS ACADEMY 2020

DESIGN EARTH: Rania Ghosn – Geostories


23 February 2020 – De Brakke Grond, Amsterdam, The Netherlands Architects Rania Ghosn and El Hadi Jazairy co-founded DESIGN EARTH to engage with geography in addressing humanity’s relationship to the Earth through architecture. From Monaco to Mexico City, their research develops projects around concepts such as hypothetical volcanos, the ​‘Pacific Cemetery’ where satellites go to die and a methane aviary as waste disposal unit rendering gas pipes a forest for birds. Rania Ghosn (DESIGN EARTH) begins her lecture Geostories with the question: How might the geographic imagination convert into an image and narrative of the climate crisis? That is, not only as a calamity of the physical environment, but also as a predicament of the cultural one – of the systems of representation through which society relates to complex and unknown environmental futures. In Geostories, geographic fiction becomes a medium to synthesise different forms and scales of knowledge on technological externalities, such as oil extraction, deep-sea mining, space debris and a host of other social-ecological issues, and to speculate on ways of living with such legacy technologies on the planet.


The collaborative practice DESIGN EARTH based in Ann Arbor, Michigan and Cambridge, Massachusetts and is led by architects Rania Ghosn and El Hadi Jazairy. DESIGN EARTH literally means ​‘earth-writing’, deploying geographic aesthetics as a form of environmental speculation in the age of climate change. The practice received a Young Architects prize from the Architectural League of New York and DESIGN EARTH have been commissioned by the Venice Architecture Biennale, Seoul Biennale of Architecture and Urbanism and Oslo Architecture Triennale. Projects have been exhibited in international art spaces such as SFMOMA and Times Museum, Guangzhou and acquired by the New York Museum of Modern Art. Ghosn is an Assistant Professor at Massachusetts Institute of Technology School of Architecture + Planning and Jazairy is an Assistant Professor of Architecture at University of Michigan. They co-authored Geostories: Another Architecture for the Environment (2018), ​‘a manifesto for the environmental imagination’, and Geographies of Trash (2015).

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]]> SONIC ACTS ACADEMY 2020

DESIGN EARTH: Rania Ghosn – Geostories


23 February 2020 – De Brakke Grond, Amsterdam, The Netherlands Architects Rania Ghosn and El Hadi Jazairy co-founded DESIGN EARTH to engage with geography in addressing humanity’s relationship to the Earth through architecture. From Monaco to Mexico City, their research develops projects around concepts such as hypothetical volcanos, the ​‘Pacific Cemetery’ where satellites go to die and a methane aviary as waste disposal unit rendering gas pipes a forest for birds. Rania Ghosn (DESIGN EARTH) begins her lecture Geostories with the question: How might the geographic imagination convert into an image and narrative of the climate crisis? That is, not only as a calamity of the physical environment, but also as a predicament of the cultural one – of the systems of representation through which society relates to complex and unknown environmental futures. In Geostories, geographic fiction becomes a medium to synthesise different forms and scales of knowledge on technological externalities, such as oil extraction, deep-sea mining, space debris and a host of other social-ecological issues, and to speculate on ways of living with such legacy technologies on the planet.


The collaborative practice DESIGN EARTH based in Ann Arbor, Michigan and Cambridge, Massachusetts and is led by architects Rania Ghosn and El Hadi Jazairy. DESIGN EARTH literally means ​‘earth-writing’, deploying geographic aesthetics as a form of environmental speculation in the age of climate change. The practice received a Young Architects prize from the Architectural League of New York and DESIGN EARTH have been commissioned by the Venice Architecture Biennale, Seoul Biennale of Architecture and Urbanism and Oslo Architecture Triennale. Projects have been exhibited in international art spaces such as SFMOMA and Times Museum, Guangzhou and acquired by the New York Museum of Modern Art. Ghosn is an Assistant Professor at Massachusetts Institute of Technology School of Architecture + Planning and Jazairy is an Assistant Professor of Architecture at University of Michigan. They co-authored Geostories: Another Architecture for the Environment (2018), ​‘a manifesto for the environmental imagination’, and Geographies of Trash (2015).

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]]> Sonic Acts 2020: Underground Division: Helen Pritchard + Jara Rocha – Rock Damages Sonic Acts 2020: Underground Division: Helen Pritchard + Jara Rocha – Rock Damages Thu, 04 Jun 2020 08:30:37 GMT 49:06 tag:soundcloud,2010:tracks/813316783 false https://soundcloud.com/sonicacts/underground-division-helen-pritchard-jara-rocha-rock-damages 67b74fdb6f2e96290c866f75 67b74fb8b3ef9b9a013058ac SONIC ACTS ACADEMY 2020Underground Division: Hel… full SONIC ACTS ACADEMY 2020

Underground Division: Helen Pritchard + Jara Rocha – Rock Damages

22 February 2020 – De Brakke Grond, Amsterdam The Netherlands


The *Underground Division* is an action-research collective of different people based in London, Brussels and Barcelona. They are interested in technologies around subsurface rendering – a trans*feminist undercurrent exists in all of their projects intelligently engaging with the environment. Their lecture at Sonic Acts on this intuitive and cutting-edge practice gives insight into their ROCK REPO project, which starts from the damage around rocks to reconsider their agency. The *Underground Division* – here represented by Helen Pritchard and Jara Rocha – will perform a lecture based on their project ROCK REPO. It is a device built by a team of trans*feminist post-normal scientists for thinking with rock. It is an inquiry into what rock is, what it could be, and the ways in which rock is seen or considered as an entity separate from its environment. As not easily fixed entities, rocks provoke a reconsideration of categories: inert or not, discrete or not, timely or not. A set of ​‘queering damage’ operations will be activated to attend to certain harms of technosciences in relation to volumetrics, geocomputation and the praxis of feeling backwards.


The *Underground Division* is an action-research collective that investigates technologies of subsurface rendering and its imaginations/​fantasies/​promises. It is dug by Helen Pritchard, Jara Rocha and Femke Snelting with the help of many other others. As a follow-up on the collaborative research Possible Bodies looking into co-construction of so-called bodies and 3D paradigms, the-body-of-the-earth is now attended to as the framework for a study on similar sensibilities but different spacetimes. The *Underground Division* bugs contemporary regimes of volumetrics that are applied to extractivist, computationalist and geologic damages. Their research will eventually culminate in the Trans*Feminist Rendering Program, a hands-on situation for device making, tool problematising and ​‘holing in gauge’.


London-based artist and researcher Helen Pritchard​’s work brings together the fields of computational aesthetics, more-than-human geographies and queer trans*feminist technoscience. Her practice considers the impacts of computation/​computational art on the figuration of environments and environmental justice for the development of inventive methodologies that propose otherwises. She is co-editor of Data Browser 06: Executing Practices (2018) and a special issue of Science, Technology and Human Values on Sensors and Sensing Practices (2019). Pritchard is the Head of Digital Arts Computing and a Lecturer in Computational Art at Goldsmiths, University of London. Together with Femke Snelting and Jara Rocha, she activates the creative research group the *Underground Division*.


Jara Rocha is a researcher based in Barcelona who works through the situated and complex forms of distribution of the technological with a trans*feminist sensibility. With a curious confidence in transtextual logistics and a clear tendency to profanate modes, she tends to be found in tasks of remediation, action-research and in(ter)dependent writing. Main areas of study have to do with the semiotic materialities of cultural urgencies. Together with Femke Snelting and Helen Pritchard, she is currently active in the *Underground Division*.

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]]> SONIC ACTS ACADEMY 2020

Underground Division: Helen Pritchard + Jara Rocha – Rock Damages

22 February 2020 – De Brakke Grond, Amsterdam The Netherlands


The *Underground Division* is an action-research collective of different people based in London, Brussels and Barcelona. They are interested in technologies around subsurface rendering – a trans*feminist undercurrent exists in all of their projects intelligently engaging with the environment. Their lecture at Sonic Acts on this intuitive and cutting-edge practice gives insight into their ROCK REPO project, which starts from the damage around rocks to reconsider their agency. The *Underground Division* – here represented by Helen Pritchard and Jara Rocha – will perform a lecture based on their project ROCK REPO. It is a device built by a team of trans*feminist post-normal scientists for thinking with rock. It is an inquiry into what rock is, what it could be, and the ways in which rock is seen or considered as an entity separate from its environment. As not easily fixed entities, rocks provoke a reconsideration of categories: inert or not, discrete or not, timely or not. A set of ​‘queering damage’ operations will be activated to attend to certain harms of technosciences in relation to volumetrics, geocomputation and the praxis of feeling backwards.


The *Underground Division* is an action-research collective that investigates technologies of subsurface rendering and its imaginations/​fantasies/​promises. It is dug by Helen Pritchard, Jara Rocha and Femke Snelting with the help of many other others. As a follow-up on the collaborative research Possible Bodies looking into co-construction of so-called bodies and 3D paradigms, the-body-of-the-earth is now attended to as the framework for a study on similar sensibilities but different spacetimes. The *Underground Division* bugs contemporary regimes of volumetrics that are applied to extractivist, computationalist and geologic damages. Their research will eventually culminate in the Trans*Feminist Rendering Program, a hands-on situation for device making, tool problematising and ​‘holing in gauge’.


London-based artist and researcher Helen Pritchard​’s work brings together the fields of computational aesthetics, more-than-human geographies and queer trans*feminist technoscience. Her practice considers the impacts of computation/​computational art on the figuration of environments and environmental justice for the development of inventive methodologies that propose otherwises. She is co-editor of Data Browser 06: Executing Practices (2018) and a special issue of Science, Technology and Human Values on Sensors and Sensing Practices (2019). Pritchard is the Head of Digital Arts Computing and a Lecturer in Computational Art at Goldsmiths, University of London. Together with Femke Snelting and Jara Rocha, she activates the creative research group the *Underground Division*.


Jara Rocha is a researcher based in Barcelona who works through the situated and complex forms of distribution of the technological with a trans*feminist sensibility. With a curious confidence in transtextual logistics and a clear tendency to profanate modes, she tends to be found in tasks of remediation, action-research and in(ter)dependent writing. Main areas of study have to do with the semiotic materialities of cultural urgencies. Together with Femke Snelting and Helen Pritchard, she is currently active in the *Underground Division*.

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]]> Sonic Acts 2020: Daniel Mann – Healing and Killing in the Underground Sonic Acts 2020: Daniel Mann – Healing and Killing in the Underground Mon, 01 Jun 2020 08:30:27 GMT 20:45 tag:soundcloud,2010:tracks/799274155 false https://soundcloud.com/sonicacts/daniel-mann-healing-and 67b74fcfb6cab9efc4ad6868 67b74fb8b3ef9b9a013058ac SONIC ACTS ACADEMY 2020Daniel Mann – Healing and… full SONIC ACTS ACADEMY 2020

Daniel Mann – Healing and Killing in the Underground

22 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


London-based filmmaker and writer Daniel Mann explores how image production shapes perceptions of armed conflict, colonisation and climate emergency. His films have screened internationally, including Motza el hayam (Low Tide) (2017) which premiered at the Berlinale’s Forum, and Salarium which was presented at the Sonic Acts Academy in 2018. Daniel Mann’s talk, titled Healing and Killing in the Underground, features a screening of an episode from Eitan Efrat’s and Mann’s film The Magic Mountain (2020). Thinking the surface of the Earth against its volume is tracing the very limits of representation. Underneath the ground, human bodies become surfaces upon which the land leaves its mark, imprinted directly into the cells and tissue. While the landscapes outside are captured and mediated in the form of postcards, paintings, snapshots and films that appeal to the naked eye, a rare energy leaks through the crevices in the stone below, before it is inhaled into the lungs, absorbed and consumed through the skin. Underground the body is the postcard of the subsoil.


Daniel Mann is a London-based filmmaker and writer. Mann explores the role of image production and circulation in shaping collective perceptions of armed conflict, colonisation and climate emergency. His 2017 film Salarium, co-directed with Sasha Litvintseva, was presented at the Sonic Acts Academy in 2018. His writing has appeared in journals such as Media, Culture & Society and World Records and his films have screened internationally at festivals including Berlinale (Forum). Mann holds a PhD from Centre for Research Architecture at Goldsmiths, University of London. As a Leverhulme Early Career Fellow at the Film Studies Department, King’s College London, he is developing a new project on the role of Middle Eastern desert environments in cinematic depictions of war, conflict and future annihilation.

Hosted on Acast. See acast.com/privacy for more information.

]]> SONIC ACTS ACADEMY 2020

Daniel Mann – Healing and Killing in the Underground

22 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


London-based filmmaker and writer Daniel Mann explores how image production shapes perceptions of armed conflict, colonisation and climate emergency. His films have screened internationally, including Motza el hayam (Low Tide) (2017) which premiered at the Berlinale’s Forum, and Salarium which was presented at the Sonic Acts Academy in 2018. Daniel Mann’s talk, titled Healing and Killing in the Underground, features a screening of an episode from Eitan Efrat’s and Mann’s film The Magic Mountain (2020). Thinking the surface of the Earth against its volume is tracing the very limits of representation. Underneath the ground, human bodies become surfaces upon which the land leaves its mark, imprinted directly into the cells and tissue. While the landscapes outside are captured and mediated in the form of postcards, paintings, snapshots and films that appeal to the naked eye, a rare energy leaks through the crevices in the stone below, before it is inhaled into the lungs, absorbed and consumed through the skin. Underground the body is the postcard of the subsoil.


Daniel Mann is a London-based filmmaker and writer. Mann explores the role of image production and circulation in shaping collective perceptions of armed conflict, colonisation and climate emergency. His 2017 film Salarium, co-directed with Sasha Litvintseva, was presented at the Sonic Acts Academy in 2018. His writing has appeared in journals such as Media, Culture & Society and World Records and his films have screened internationally at festivals including Berlinale (Forum). Mann holds a PhD from Centre for Research Architecture at Goldsmiths, University of London. As a Leverhulme Early Career Fellow at the Film Studies Department, King’s College London, he is developing a new project on the role of Middle Eastern desert environments in cinematic depictions of war, conflict and future annihilation.

Hosted on Acast. See acast.com/privacy for more information.

]]> <![CDATA[Sonic Acts 2020: Toril Johannessen – On 'Reclaiming Vision']]> Thu, 28 May 2020 08:30:53 GMT 22:54 tag:soundcloud,2010:tracks/799268188 false https://soundcloud.com/sonicacts/toril-johannessen-on 67b74fd0af08fb18338cbb78 67b74fb8b3ef9b9a013058ac SONIC ACTS ACADEMY 2020Marjolijn Dijkman + Toril… full SONIC ACTS ACADEMY 2020

Marjolijn Dijkman + Toril Johannessen – On 'Reclaiming Vision'

22 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


Note: Marjolijn Dijkman joined Toril Johannessen for the Q&A that followed the lecture On 'Reclaiming Vision' Bacteria, algae and other microbes are essential for the very being of life on earth.


Marjolijn Dijkman and Toril Johannessen warn us that every second breath we take is produced by algae in the oceans. Those ideas are beautifully visualised in their film Reclaiming Vision, which is a topic of their lecture at the Academy conference. A starting point of this talk is a film that was captured through a microscope. Its diverse cast of microorganisms was sampled from the brackish waters of the inner Oslo Fjord, alongside algae, cultivated at the University of Oslo. Starting from the assertion that looking evolved from the sea – eyes, in fact, evolved from marine algae – Reclaiming Vision takes the viewer on a journey through various ways of looking at, relating to and influencing nature.


Toril Johannessen is an artist living in Tromsø in Norway. Perception and representation as historical and technological constructs are recurring themes in Johannessen’s artistic practice. Combining historical records with fiction and her own investigations, and with an attention to how science coexists with other systems of knowledge and belief, her works often have elements of storytelling in visual or written form. Most recent solo shows include Entrée and Trykkeriet, Bergen (2019); OSL Contemporary (2019), Munchmuseet on the Move, The Munch Museum, Oslo (2018) and Hordaland Art Centre, Bergen (2017).


Brussels-based artist Marjolijn Dijkman​’s practice addresses the human desire for knowledge, combining speculation with science in works that seem sci-fi in form. In reflecting on how institutionalised systems are relied on to assert the politics of assumed knowledge, her work proposes alternate knowledge systems. Her projects involve history museums, scientific enquiry and forms of collective imagination, manifesting in photographic archives and films, installations and sculpture. Futurology, museology, anthropology, cosmology and ecology are all areas the artist investigates. Dijkman has had solo shows most recently at NOME Gallery, Berlin, Munchmuseet, Oslo and fig‑2 at the ICA Studio. She has also participated in numerous group exhibitions such as Contour Biennale 9, Mechelen, the 21st Biennale of Sydney and the 11th Shanghai Biennale.

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]]> SONIC ACTS ACADEMY 2020

Marjolijn Dijkman + Toril Johannessen – On 'Reclaiming Vision'

22 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


Note: Marjolijn Dijkman joined Toril Johannessen for the Q&A that followed the lecture On 'Reclaiming Vision' Bacteria, algae and other microbes are essential for the very being of life on earth.


Marjolijn Dijkman and Toril Johannessen warn us that every second breath we take is produced by algae in the oceans. Those ideas are beautifully visualised in their film Reclaiming Vision, which is a topic of their lecture at the Academy conference. A starting point of this talk is a film that was captured through a microscope. Its diverse cast of microorganisms was sampled from the brackish waters of the inner Oslo Fjord, alongside algae, cultivated at the University of Oslo. Starting from the assertion that looking evolved from the sea – eyes, in fact, evolved from marine algae – Reclaiming Vision takes the viewer on a journey through various ways of looking at, relating to and influencing nature.


Toril Johannessen is an artist living in Tromsø in Norway. Perception and representation as historical and technological constructs are recurring themes in Johannessen’s artistic practice. Combining historical records with fiction and her own investigations, and with an attention to how science coexists with other systems of knowledge and belief, her works often have elements of storytelling in visual or written form. Most recent solo shows include Entrée and Trykkeriet, Bergen (2019); OSL Contemporary (2019), Munchmuseet on the Move, The Munch Museum, Oslo (2018) and Hordaland Art Centre, Bergen (2017).


Brussels-based artist Marjolijn Dijkman​’s practice addresses the human desire for knowledge, combining speculation with science in works that seem sci-fi in form. In reflecting on how institutionalised systems are relied on to assert the politics of assumed knowledge, her work proposes alternate knowledge systems. Her projects involve history museums, scientific enquiry and forms of collective imagination, manifesting in photographic archives and films, installations and sculpture. Futurology, museology, anthropology, cosmology and ecology are all areas the artist investigates. Dijkman has had solo shows most recently at NOME Gallery, Berlin, Munchmuseet, Oslo and fig‑2 at the ICA Studio. She has also participated in numerous group exhibitions such as Contour Biennale 9, Mechelen, the 21st Biennale of Sydney and the 11th Shanghai Biennale.

Hosted on Acast. See acast.com/privacy for more information.

]]> Sonic Acts 2020: Anja Kanngieser – Listening to Ecocide Sonic Acts 2020: Anja Kanngieser – Listening to Ecocide Mon, 25 May 2020 08:31:03 GMT 47:37 tag:soundcloud,2010:tracks/799275505 false https://soundcloud.com/sonicacts/anja-kanngieser-listening-to 67b74fe07fd241a4ed7bf213 67b74fb8b3ef9b9a013058ac SONIC ACTS ACADEMY 2020Anja Kanngieser – Listeni… full SONIC ACTS ACADEMY 2020

Anja Kanngieser – Listening to Ecocide

22 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


For political geographer and sound artist Anja Kanngieser, sound is the sense mechanism that drives their work – from a documentary interlacing stories on resisting deep sea mining in Papua New Guinea and Vanuatu to an audio walk on rising sea levels. As an academic, their work creatively amplifies social justice claims around politics and climate change. Anja Kanngieser’s talk, aptly named Listening to Ecocide, addresses through sound the complexities faced by frontline Pacific communities. The Pacific Island of Nauru at the heart of the Pacific Ocean is the frontline of environmental crisis. Strip-mined by colonisers of its natural phosphate reserves, the backbone of industrial agriculture, the island nation has relied on Australia’s brutal offshore refugee incarceration régime for the last decade. With severe eco-systemic vulnerabilities – contaminated water, diminishing land, droughts and sea inundation – Nauru exemplifies the precarious position induced by extractive colonialism and racial capitalism. Bringing together site-specific audio recordings with Indigenous Nauruan voices campaigning for self-determination and self-representation, Kanngieser shows sound and listening as vital to understanding, and amplifying, the deep relations to land and sea that Nauruan’s hold and the complexities they face.


Anja Kanngieser is a political geographer and sound artist based in Wollongong, Australia, who creatively investigates space and politics. In their work Anja begins with the premise of sound as a constant, a phenomenon that is always present – whether heard, felt, or sensed by human or non-human species and technologies. Their most current projects use testimony, field recording and data sonification to document and amplify social justice responses to the effects of climate change in the Pacific. In their first book, Experimental Politics and the Making of Worlds (2013), they open up communication between urban groups to find common sites for protest around precarious living and working conditions, migration and higher education. Research interests include labour practices in China, sound technologies for mapping movement and micro radio in Japanese urban politics. In their most recent project, Climates of Listening, community-oriented social justice responses to climate change in the Pacific are amplified. A Vice Chancellors Fellow at the Australian Centre for Cultural Environmental Research at the University of Wollongong, Australia, their writing is widely published and they are an editorial board member of journal Environment and Planning D: Society and Space.

Hosted on Acast. See acast.com/privacy for more information.

]]> SONIC ACTS ACADEMY 2020

Anja Kanngieser – Listening to Ecocide

22 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


For political geographer and sound artist Anja Kanngieser, sound is the sense mechanism that drives their work – from a documentary interlacing stories on resisting deep sea mining in Papua New Guinea and Vanuatu to an audio walk on rising sea levels. As an academic, their work creatively amplifies social justice claims around politics and climate change. Anja Kanngieser’s talk, aptly named Listening to Ecocide, addresses through sound the complexities faced by frontline Pacific communities. The Pacific Island of Nauru at the heart of the Pacific Ocean is the frontline of environmental crisis. Strip-mined by colonisers of its natural phosphate reserves, the backbone of industrial agriculture, the island nation has relied on Australia’s brutal offshore refugee incarceration régime for the last decade. With severe eco-systemic vulnerabilities – contaminated water, diminishing land, droughts and sea inundation – Nauru exemplifies the precarious position induced by extractive colonialism and racial capitalism. Bringing together site-specific audio recordings with Indigenous Nauruan voices campaigning for self-determination and self-representation, Kanngieser shows sound and listening as vital to understanding, and amplifying, the deep relations to land and sea that Nauruan’s hold and the complexities they face.


Anja Kanngieser is a political geographer and sound artist based in Wollongong, Australia, who creatively investigates space and politics. In their work Anja begins with the premise of sound as a constant, a phenomenon that is always present – whether heard, felt, or sensed by human or non-human species and technologies. Their most current projects use testimony, field recording and data sonification to document and amplify social justice responses to the effects of climate change in the Pacific. In their first book, Experimental Politics and the Making of Worlds (2013), they open up communication between urban groups to find common sites for protest around precarious living and working conditions, migration and higher education. Research interests include labour practices in China, sound technologies for mapping movement and micro radio in Japanese urban politics. In their most recent project, Climates of Listening, community-oriented social justice responses to climate change in the Pacific are amplified. A Vice Chancellors Fellow at the Australian Centre for Cultural Environmental Research at the University of Wollongong, Australia, their writing is widely published and they are an editorial board member of journal Environment and Planning D: Society and Space.

Hosted on Acast. See acast.com/privacy for more information.

]]> Sonic Acts 2020: Nabil Ahmed – Ecocide Forensics Sonic Acts 2020: Nabil Ahmed – Ecocide Forensics Thu, 21 May 2020 08:30:03 GMT 53:46 tag:soundcloud,2010:tracks/799271047 false https://soundcloud.com/sonicacts/nabil-ahmed-ecocide-forensics 67b74fdab3ef9b9a01305ddd 67b74fb8b3ef9b9a013058ac SONIC ACTS ACADEMY 2020Nabil Ahmed – Ecocide For… full SONIC ACTS ACADEMY 2020

Nabil Ahmed – Ecocide Forensics

22 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


As founder of the project INTERPRT, artist, writer, researcher and musician Nabil Ahmed makes a clarion call for international criminal law to protect against ecological impunity. The environmental justice project that has worked with Princeton and renowned art institutions leans on spatial design to consider ecological visual culture, investigating at-risk regions like bio-diverse and conflict-ridden West Papua/​Indonesia, endowed with the planet’s largest reserve of copper and gold. International criminal justice offers considerably limited protection to the environment and to the livelihoods and dignity of peoples. In West Papua, where the Papuans are fighting the longest self-determination struggle in the Pacific, the Indonesian state and minerals, natural gas and palm oil corporations are getting away with ecocide and crimes against humanity. Yet today, civil society groups, NGOs and journalists have expanded access to geospatial information, audiovisual media and open-source data to expose state violence and corporate crimes. Forensic truths acquired by non-state actors are increasingly admitted in legal contexts and for advocacy purposes. This lecture explores how spatial analysis and environmental forensics are put to work by INTERPRT to not only document underreported environmental offenses and human rights violations, but also in an effort to recognise ecocide as an international crime. First invoked during the Vietnam War, ecocide has the potential to be an effective tool for climate frontline governments and civil society in the fight against ecological impunity at the international criminal court and beyond.


Nabil Ahmed holds a PhD from the Centre for Research Architecture, Goldsmiths, University of London, where he is affiliated with Forensic Architecture. He is a postdoctoral fellow at the Academy of Fine Art in the architecture and design faculty at Norwegian University of Science and Technology. He is also founder of INTERPRT, which investigates environmental crimes using spatial analysis and advocates for the criminalisation of ecocide under international law. The group collaborates with international lawyers, research centres and civil society such as Princeton Science & Global Security and Movement for the Survival of Ogoni People, and has exhibited projects at venues including Biennale Warszawa/​Modern Art Museum in Warsaw and the Beirut Art Centre. INTERPRT is commissioned by TBA21 – Academy. Ahmed has written for Third Text, Candide: Journal for Architectural Knowledge and Architectural Review among others and is published in numerous books.

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]]> SONIC ACTS ACADEMY 2020

Nabil Ahmed – Ecocide Forensics

22 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


As founder of the project INTERPRT, artist, writer, researcher and musician Nabil Ahmed makes a clarion call for international criminal law to protect against ecological impunity. The environmental justice project that has worked with Princeton and renowned art institutions leans on spatial design to consider ecological visual culture, investigating at-risk regions like bio-diverse and conflict-ridden West Papua/​Indonesia, endowed with the planet’s largest reserve of copper and gold. International criminal justice offers considerably limited protection to the environment and to the livelihoods and dignity of peoples. In West Papua, where the Papuans are fighting the longest self-determination struggle in the Pacific, the Indonesian state and minerals, natural gas and palm oil corporations are getting away with ecocide and crimes against humanity. Yet today, civil society groups, NGOs and journalists have expanded access to geospatial information, audiovisual media and open-source data to expose state violence and corporate crimes. Forensic truths acquired by non-state actors are increasingly admitted in legal contexts and for advocacy purposes. This lecture explores how spatial analysis and environmental forensics are put to work by INTERPRT to not only document underreported environmental offenses and human rights violations, but also in an effort to recognise ecocide as an international crime. First invoked during the Vietnam War, ecocide has the potential to be an effective tool for climate frontline governments and civil society in the fight against ecological impunity at the international criminal court and beyond.


Nabil Ahmed holds a PhD from the Centre for Research Architecture, Goldsmiths, University of London, where he is affiliated with Forensic Architecture. He is a postdoctoral fellow at the Academy of Fine Art in the architecture and design faculty at Norwegian University of Science and Technology. He is also founder of INTERPRT, which investigates environmental crimes using spatial analysis and advocates for the criminalisation of ecocide under international law. The group collaborates with international lawyers, research centres and civil society such as Princeton Science & Global Security and Movement for the Survival of Ogoni People, and has exhibited projects at venues including Biennale Warszawa/​Modern Art Museum in Warsaw and the Beirut Art Centre. INTERPRT is commissioned by TBA21 – Academy. Ahmed has written for Third Text, Candide: Journal for Architectural Knowledge and Architectural Review among others and is published in numerous books.

Hosted on Acast. See acast.com/privacy for more information.

]]> Sonic Acts 2020: Terike Haapoja – Vulnerability, Community, Animality Sonic Acts 2020: Terike Haapoja – Vulnerability, Community, Animality Mon, 18 May 2020 08:30:23 GMT 46:47 tag:soundcloud,2010:tracks/799268860 false https://soundcloud.com/sonicacts/terike-haapoja-vulnerability 67b74fe0b6cab9efc4ad785c 67b74fb8b3ef9b9a013058ac SONIC ACTS ACADEMY 2020Terike Haapoja – Vulnerab… full SONIC ACTS ACADEMY 2020

Terike Haapoja – Vulnerability, Community, Animality – The Art of Being Here with Others

22 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


New York-based artist Terike Haapoja represented Finland at the 55th Venice Biennale (2013). Her projects and collaborations, including those in collaboration with Laura Gustafsson, challenge human-centric perspectives. Gustafsson&Haapoja enacted a trial in which eight-year prison sentences were given for killing wolves and opened a museum for cattle. In 2019, their 16-speaker sound installation of pigs awaiting slaughter brought the animal factory to Zone2Source in Amsterdam. Terike Haapoja’s lecture Vulnerability, Community, Animality – The Art of Being Here with Others, takes 2020 as a landscape of deepening polarisation in the political sphere as well as between people and Earth’s other inhabitants. At the core of these divides is a question of the ​‘we’ of political community, traditionally defined as ​‘we the people’. On one side of the void looms white nationalism, closing borders and rising fascism. On the other, rights of nature and decolonial demands to dismantle the state apparatus. This void hides legal divides between things and persons, and ontological divides between subjects and objects: gendered and racialised mechanisms of making killable and making sovereign. How these divides have been constructed and how we could rethink them is at the core of Haapoja’s interdisciplinary work. Starting from her collaborative art projects, Haapoja approaches questions of animalisation, law, interspecies communality, vulnerability and ethics in relationship to art and its role in political change.


Terike Haapoja is a visual artist based in New York. Haapoja’s large-scale installation work, publications, writings and political projects investigate the mechanics of othering with a specific focus on issues arising from the anthropocentric worldview of Eurocentric traditions. Haapoja represented Finland in the 55th Venice Biennale (2013) with a solo show in the Nordic pavilion, and her work has been awarded with several prizes, including ANTI Festival International Prize for Live Art (2016), Dukaatti prize (2008) and an Ars Fennica Prize nomination and for her work with writer Laura Gustafsson as Gustafsson&Haapoja. Haapoja is an adjunct professor at Parsons Fine Arts and New York University.

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]]> SONIC ACTS ACADEMY 2020

Terike Haapoja – Vulnerability, Community, Animality – The Art of Being Here with Others

22 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


New York-based artist Terike Haapoja represented Finland at the 55th Venice Biennale (2013). Her projects and collaborations, including those in collaboration with Laura Gustafsson, challenge human-centric perspectives. Gustafsson&Haapoja enacted a trial in which eight-year prison sentences were given for killing wolves and opened a museum for cattle. In 2019, their 16-speaker sound installation of pigs awaiting slaughter brought the animal factory to Zone2Source in Amsterdam. Terike Haapoja’s lecture Vulnerability, Community, Animality – The Art of Being Here with Others, takes 2020 as a landscape of deepening polarisation in the political sphere as well as between people and Earth’s other inhabitants. At the core of these divides is a question of the ​‘we’ of political community, traditionally defined as ​‘we the people’. On one side of the void looms white nationalism, closing borders and rising fascism. On the other, rights of nature and decolonial demands to dismantle the state apparatus. This void hides legal divides between things and persons, and ontological divides between subjects and objects: gendered and racialised mechanisms of making killable and making sovereign. How these divides have been constructed and how we could rethink them is at the core of Haapoja’s interdisciplinary work. Starting from her collaborative art projects, Haapoja approaches questions of animalisation, law, interspecies communality, vulnerability and ethics in relationship to art and its role in political change.


Terike Haapoja is a visual artist based in New York. Haapoja’s large-scale installation work, publications, writings and political projects investigate the mechanics of othering with a specific focus on issues arising from the anthropocentric worldview of Eurocentric traditions. Haapoja represented Finland in the 55th Venice Biennale (2013) with a solo show in the Nordic pavilion, and her work has been awarded with several prizes, including ANTI Festival International Prize for Live Art (2016), Dukaatti prize (2008) and an Ars Fennica Prize nomination and for her work with writer Laura Gustafsson as Gustafsson&Haapoja. Haapoja is an adjunct professor at Parsons Fine Arts and New York University.

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]]> Sonic Acts 2020: T. J. Demos – Beyond the End of the World Sonic Acts 2020: T. J. Demos – Beyond the End of the World Thu, 14 May 2020 08:30:13 GMT 37:45 tag:soundcloud,2010:tracks/799269652 false https://soundcloud.com/sonicacts/t-j-demos-beyond-the-end-of 67b74fe0b6cab9efc4ad7863 67b74fb8b3ef9b9a013058ac SONIC ACTS ACADEMY 2020T. J. Demos – Beyond the … full SONIC ACTS ACADEMY 2020

T. J. Demos – Beyond the End of the World

22 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


Celebrated writer T. J. Demos rarely leaves a seat empty at his talks on politics, ecology and art, often attending to decoloniality within nature. His most recent book addresses the occlusions embedded in the academic use of the term ​‘Anthropocene’ (human-caused planetary change) in shielding problems as opposed to opening inroads for change made accessible by artists. This presentation discusses the ongoing research and exhibition project, Beyond the End of the World, directed by T. J. Demos of the Center for Creative Ecologies at University of California, Santa Cruz (beyond​.ucsc​.edu). In the wake of the end of multiple worlds, we already live in a post-apocalyptic present following countless genocides and colonialisms. With reference to diverse traditions of the oppressed, this year-long research project addresses what lies beyond dystopian catastrophism, past and present end-of-world narratives, and how we can imagine and cultivate radical futures of social justice and ecological flourishing.


T. J. Demos is an award-winning writer and Professor of Visual Culture at University of California, Santa Cruz and Director of its Center for Creative Ecologies. He writes widely about contemporary art, global politics and ecology and is the author, most recently, of Against the Anthropocene: Visual Culture and Environment Today (2017) and Decolonizing Nature: Contemporary Art and the Politics of Ecology (2016). Demos co-curated Rights of Nature: Art and Ecology in the Americas, at Nottingham Contemporary in 2015 and organised Specters: A Ciné-Politics of Haunting, at Museo Nacional Centro de Arte Reina Sofía in Madrid in 2014. He is currently working on a Mellon-funded research, exhibition and book project dedicated to the questions: ​‘What comes after the end of the world?’ and ​‘How can we cultivate futures of social justice within capitalist ruins?’ #politicsandart #ecologyandart #anthropocene #future #experimental art

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]]> SONIC ACTS ACADEMY 2020

T. J. Demos – Beyond the End of the World

22 February 2020 – De Brakke Grond, Amsterdam, The Netherlands


Celebrated writer T. J. Demos rarely leaves a seat empty at his talks on politics, ecology and art, often attending to decoloniality within nature. His most recent book addresses the occlusions embedded in the academic use of the term ​‘Anthropocene’ (human-caused planetary change) in shielding problems as opposed to opening inroads for change made accessible by artists. This presentation discusses the ongoing research and exhibition project, Beyond the End of the World, directed by T. J. Demos of the Center for Creative Ecologies at University of California, Santa Cruz (beyond​.ucsc​.edu). In the wake of the end of multiple worlds, we already live in a post-apocalyptic present following countless genocides and colonialisms. With reference to diverse traditions of the oppressed, this year-long research project addresses what lies beyond dystopian catastrophism, past and present end-of-world narratives, and how we can imagine and cultivate radical futures of social justice and ecological flourishing.


T. J. Demos is an award-winning writer and Professor of Visual Culture at University of California, Santa Cruz and Director of its Center for Creative Ecologies. He writes widely about contemporary art, global politics and ecology and is the author, most recently, of Against the Anthropocene: Visual Culture and Environment Today (2017) and Decolonizing Nature: Contemporary Art and the Politics of Ecology (2016). Demos co-curated Rights of Nature: Art and Ecology in the Americas, at Nottingham Contemporary in 2015 and organised Specters: A Ciné-Politics of Haunting, at Museo Nacional Centro de Arte Reina Sofía in Madrid in 2014. He is currently working on a Mellon-funded research, exhibition and book project dedicated to the questions: ​‘What comes after the end of the world?’ and ​‘How can we cultivate futures of social justice within capitalist ruins?’ #politicsandart #ecologyandart #anthropocene #future #experimental art

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]]> Podcast: Sonic Acts x Ja Ja Ja Nee Nee Nee - Arif in conversation with DeForrest Brown Jr. Podcast: Sonic Acts x Ja Ja Ja Nee Nee Nee - Arif in conversation with DeForrest Brown Jr. Mon, 17 Feb 2020 14:14:07 GMT 47:47 tag:soundcloud,2010:tracks/762140881 false https://soundcloud.com/sonicacts/podcast-sonic-acts-x-ja-ja-ja-nee-nee-nee-arif-in-conversation-with-deforrest-brown-jr 67b74fda7fd241a4ed7bf13f 67b74fb8b3ef9b9a013058ac @speakermusic speaks to @arifonline about the ori… full @speakermusic speaks to @arifonline about the origins of techno, un/available historical nostalgia and a HECHA hat he is wearing that says: Make Techno Black Again.


This is the third episode of the Sonic Acts x Ja Ja Ja Nee Nee Nee podcast series on the occasion of Sonic Acts Academy 2020, taking place in Amsterdam 21 - 23 February.


MUSIC

Speaker Music - with empathy

The Other People Place - Let Me Be Me

Speaker Music - without excess

Young Paint & Actress - Travel Paint

Zadie Smith on NPR

DJ Stingray - Cognitive Load Theory

Dopplereffekt - Technic 1200

Félicia Atkinson & Jefre Cantu-Ledesma - And the Flower have Time For Me

Speaker Music - Exercises in Black Quantum Drumming

Heatsick - Déviation

Félicia Atkinson & Jefre Cantu-Ledesma - Her Eyelids Say

Fhloston Paradigm - ...all feat. Moor Mother

Ashtar Lavanda - Opulence


DeForrest Brown Jr. is a New York-based rhythmanalyst and media theorist. Brown’s praxis Speaker Music is inspired by Rhythmanalysis, a book of essays by urbanist philosopher Henri Lefebvre as well as considerations of momentum and the ‘chronopolitical’ from cultural theorist Kodwo Eshun. Mobilising free improvised electronic percussion and stereophonic audio recordings, Speaker Music yearns to caress, engineer and sculpt sentiment into a multi-textural rhythmic body, quivering the nexus event of the moment into a collapsed ‘nonpulsed time’ towards a shared sphere of intimacy.


Mix, Production: Arif

Hosted on Acast. See acast.com/privacy for more information.

]]> @speakermusic speaks to @arifonline about the origins of techno, un/available historical nostalgia and a HECHA hat he is wearing that says: Make Techno Black Again.


This is the third episode of the Sonic Acts x Ja Ja Ja Nee Nee Nee podcast series on the occasion of Sonic Acts Academy 2020, taking place in Amsterdam 21 - 23 February.


MUSIC

Speaker Music - with empathy

The Other People Place - Let Me Be Me

Speaker Music - without excess

Young Paint & Actress - Travel Paint

Zadie Smith on NPR

DJ Stingray - Cognitive Load Theory

Dopplereffekt - Technic 1200

Félicia Atkinson & Jefre Cantu-Ledesma - And the Flower have Time For Me

Speaker Music - Exercises in Black Quantum Drumming

Heatsick - Déviation

Félicia Atkinson & Jefre Cantu-Ledesma - Her Eyelids Say

Fhloston Paradigm - ...all feat. Moor Mother

Ashtar Lavanda - Opulence


DeForrest Brown Jr. is a New York-based rhythmanalyst and media theorist. Brown’s praxis Speaker Music is inspired by Rhythmanalysis, a book of essays by urbanist philosopher Henri Lefebvre as well as considerations of momentum and the ‘chronopolitical’ from cultural theorist Kodwo Eshun. Mobilising free improvised electronic percussion and stereophonic audio recordings, Speaker Music yearns to caress, engineer and sculpt sentiment into a multi-textural rhythmic body, quivering the nexus event of the moment into a collapsed ‘nonpulsed time’ towards a shared sphere of intimacy.


Mix, Production: Arif

Hosted on Acast. See acast.com/privacy for more information.

]]> Podcast: Sonic Acts x Ja Ja Ja Nee Nee Nee – Leonardo Dellanoce in conversation with Lukáš Likavčan Podcast: Sonic Acts x Ja Ja Ja Nee Nee Nee – Leonardo Dellanoce in conversation with Lukáš Likavčan Thu, 23 Jan 2020 16:59:11 GMT 44:44 tag:soundcloud,2010:tracks/748248322 false https://soundcloud.com/sonicacts/lukas-likavcan-leonardo-dellanoce-sonic-acts-x-jjjnnn 67b74fd8b3ef9b9a01305d91 67b74fb8b3ef9b9a013058ac Lukáš Likavčan and Leonardo Dellanoce speak about… full Lukáš Likavčan and Leonardo Dellanoce speak about extinction, spectres and the game Death Stranding. They discuss how the future influences the present and how computer modelling fails to predict the Australian forest fires. This is the second episode of the Sonic Acts x Ja Ja Ja Nee Nee Nee podcast series on the occasion of Sonic Acts Academy 2020, taking place in Amsterdam 21 - 23 February.


Read more at 2020.sonicacts.com


Theorist Lukáš Likavčan collaborates on art projects, including the simulation alt’ai, questioning machine protocols in communicating with environments. Exploring imaginations of Earth from the impersonal, totalising view to one in which humans are environmental accidents at home anywhere, he finds resonance in a line from Holly Herndon’s Extreme Love (2019): ‘We are completely outside ourselves, and the world is completely inside us.’ Concluding his PhD in environmental studies at Masaryk University, Brno, he now teaches at Center for Audiovisual Studies at FAMU in Prague and Strelka Institute for Media, Architecture and Design in Moscow. Likavčan just released a book Introduction to Comparative Planetology (2019, Strelka Press) that presents an analysis of visual cultures of imagining the Earth and the geopolitics of climate emergency.


Leonardo Dellanoce, invited by Ja Ja Ja Nee Nee Nee to host this conversation, is an art historian who explores technological realities using art and design as navigational tools. Collaboration is at the core of his practice, as he works with artists, spatial designers and theorists on a variety of projects. Among others, he is co-leading the cross-disciplinary research project Vertical Atlas: a Techno-political Cartography, and co-curating Digital Earth, a 6 month research fellowship for artists and designers in Africa and Asia. Currently, he is also editor of Volume magazine where he initiated the long-term research project Trust in the Blockchain Society.

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]]> Lukáš Likavčan and Leonardo Dellanoce speak about extinction, spectres and the game Death Stranding. They discuss how the future influences the present and how computer modelling fails to predict the Australian forest fires. This is the second episode of the Sonic Acts x Ja Ja Ja Nee Nee Nee podcast series on the occasion of Sonic Acts Academy 2020, taking place in Amsterdam 21 - 23 February.


Read more at 2020.sonicacts.com


Theorist Lukáš Likavčan collaborates on art projects, including the simulation alt’ai, questioning machine protocols in communicating with environments. Exploring imaginations of Earth from the impersonal, totalising view to one in which humans are environmental accidents at home anywhere, he finds resonance in a line from Holly Herndon’s Extreme Love (2019): ‘We are completely outside ourselves, and the world is completely inside us.’ Concluding his PhD in environmental studies at Masaryk University, Brno, he now teaches at Center for Audiovisual Studies at FAMU in Prague and Strelka Institute for Media, Architecture and Design in Moscow. Likavčan just released a book Introduction to Comparative Planetology (2019, Strelka Press) that presents an analysis of visual cultures of imagining the Earth and the geopolitics of climate emergency.


Leonardo Dellanoce, invited by Ja Ja Ja Nee Nee Nee to host this conversation, is an art historian who explores technological realities using art and design as navigational tools. Collaboration is at the core of his practice, as he works with artists, spatial designers and theorists on a variety of projects. Among others, he is co-leading the cross-disciplinary research project Vertical Atlas: a Techno-political Cartography, and co-curating Digital Earth, a 6 month research fellowship for artists and designers in Africa and Asia. Currently, he is also editor of Volume magazine where he initiated the long-term research project Trust in the Blockchain Society.

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]]> Podcast: Sonic Acts x Ja Ja Ja Nee Nee Nee – Ivan Cheng in conversation with Sadaf Podcast: Sonic Acts x Ja Ja Ja Nee Nee Nee – Ivan Cheng in conversation with Sadaf Tue, 14 Jan 2020 11:32:44 GMT 33:02 tag:soundcloud,2010:tracks/741343588 false https://soundcloud.com/sonicacts/jjjnnn-sonic-acts-sadaf 67b74fd2af08fb18338cbbbd 67b74fb8b3ef9b9a013058ac Sadaf speaks to Ivan Cheng in this first episode … full Sadaf speaks to Ivan Cheng in this first episode of the Sonic Acts x Ja Ja Ja Nee Nee Nee podcast series on the occasion of Sonic Acts Academy 2020, taking place in Amsterdam 21 - 23 February. Read more about both artists below.


2020.sonicacts.com


Sadaf H Nava (Sadaf) is an Iranian-born, New York City-based composer and visual artist whose multidisciplinary interventions include sound, film, painting, performance and text. Sadaf’s layered and cinematic visuals, sonics and confrontational performative tactics oscillate between opacity and narrative. Her work upends the inward-looking affect inherent to contemporary performance, subverting the languages of auto-fiction and the artist/ muse. These original compositions comprise intuitive and clashing material inspired by contemporary global archaeologies of sound, always flirting with noise.


Ivan Cheng, who is a regular on Ja Ja Ja Nee Nee Nee, also edited this episode. He focuses within his practice on misunderstanding, abrasion and desire in the act of reading, often gesturing towards systems of power and reproduction. He also works as a performer, clarinettist, curator and writer. He holds an MFA in Critical Studies (Sandberg Instituut), having previously studied at the Royal Academy of Music and Sydney Conservatorium of Music. Text-based performances have been presented in Sydney, Melbourne, London, Amsterdam, Vilnius, Tokyo, Berlin, New York, Krakow, Lyon, Saint-Etienne, Bonn & Köln. He initiates project space bologna.cc in Amsterdam.


Photo by John Spyrou

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]]> Sadaf speaks to Ivan Cheng in this first episode of the Sonic Acts x Ja Ja Ja Nee Nee Nee podcast series on the occasion of Sonic Acts Academy 2020, taking place in Amsterdam 21 - 23 February. Read more about both artists below.


2020.sonicacts.com


Sadaf H Nava (Sadaf) is an Iranian-born, New York City-based composer and visual artist whose multidisciplinary interventions include sound, film, painting, performance and text. Sadaf’s layered and cinematic visuals, sonics and confrontational performative tactics oscillate between opacity and narrative. Her work upends the inward-looking affect inherent to contemporary performance, subverting the languages of auto-fiction and the artist/ muse. These original compositions comprise intuitive and clashing material inspired by contemporary global archaeologies of sound, always flirting with noise.


Ivan Cheng, who is a regular on Ja Ja Ja Nee Nee Nee, also edited this episode. He focuses within his practice on misunderstanding, abrasion and desire in the act of reading, often gesturing towards systems of power and reproduction. He also works as a performer, clarinettist, curator and writer. He holds an MFA in Critical Studies (Sandberg Instituut), having previously studied at the Royal Academy of Music and Sydney Conservatorium of Music. Text-based performances have been presented in Sydney, Melbourne, London, Amsterdam, Vilnius, Tokyo, Berlin, New York, Krakow, Lyon, Saint-Etienne, Bonn & Köln. He initiates project space bologna.cc in Amsterdam.


Photo by John Spyrou

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]]> Sonic Acts 2019: Rosi Braidotti – Necropolitics and Ways of Dying Sonic Acts 2019: Rosi Braidotti – Necropolitics and Ways of Dying Mon, 27 May 2019 09:59:48 GMT 27:18 tag:soundcloud,2010:tracks/621022407 false https://soundcloud.com/sonicacts/rosi-braidotti-necropolitics-and-ways-of-dying-1 67b74fdb7fd241a4ed7bf162 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERRosi Braidot… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Rosi Braidotti – Necropolitics and Ways of Dying – Introduction by Rick Dolphijn

22 February 2019 – De Brakke Grond, Amsterdam, The Netherlands.


What does it mean to die within the posthuman convergence, which positions us – humans and non-humans – between the Fourth Industrial Age and the Sixth Extinction? This contemporary convergence results in the shifting of boundaries between bio-power and necro-politics, life and death, the government of the living and the practices of dying. I will refer to a neo-materialist philosophy of non-human life as 'Zoe' and argue that both the concept of life and that of death need to be approached with more complexity and more attention to power differences.


Rosi Braidotti is a Distinguished University Professor and founding Director of the Centre for the Humanities at Utrecht University. Her publications include: Patterns of Dissonance (1991), Metamorphoses (2002), Transpositions (2006), La philosophie, lá où on né l’attend pas (2009), Nomadic Subjects (1994; 2011), Nomadic Theory (2011), The Posthuman (2013). She recently co-edited Conflicting Humanities (2016) with Paul Gilroy and The Posthuman Glossary (2018) with Maria Hlavajova.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Rosi Braidotti – Necropolitics and Ways of Dying – Introduction by Rick Dolphijn

22 February 2019 – De Brakke Grond, Amsterdam, The Netherlands.


What does it mean to die within the posthuman convergence, which positions us – humans and non-humans – between the Fourth Industrial Age and the Sixth Extinction? This contemporary convergence results in the shifting of boundaries between bio-power and necro-politics, life and death, the government of the living and the practices of dying. I will refer to a neo-materialist philosophy of non-human life as 'Zoe' and argue that both the concept of life and that of death need to be approached with more complexity and more attention to power differences.


Rosi Braidotti is a Distinguished University Professor and founding Director of the Centre for the Humanities at Utrecht University. Her publications include: Patterns of Dissonance (1991), Metamorphoses (2002), Transpositions (2006), La philosophie, lá où on né l’attend pas (2009), Nomadic Subjects (1994; 2011), Nomadic Theory (2011), The Posthuman (2013). She recently co-edited Conflicting Humanities (2016) with Paul Gilroy and The Posthuman Glossary (2018) with Maria Hlavajova.

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]]> Sonic Acts 2019: Post-Screening Discussion with Maeve Brennan Sonic Acts 2019: Post-Screening Discussion with Maeve Brennan Mon, 27 May 2019 09:59:42 GMT 12:44 tag:soundcloud,2010:tracks/623548548 false https://soundcloud.com/sonicacts/post-screening-discussion-maeve-brennan 67b74fda6f2e96290c866f5b 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERPost-Screeni… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Post-Screening Discussion: Maeve Brennan in conversation with Mirna Belina

22 February – De Brakke Grond, Amsterdam, The Netherlands


Following the screening of Listening in the Dark (44 min, 2018), Maeve Brennan discusses the film with Mirna Belina and takes questions from the audience.

Maeve Brennan’s film Listening in the Dark (44 min, 2018) takes a documentary approach, gathering a series of subtle yet penetrating soundings of human beings’ impact on the natural environment. Undisturbed, and largely unchanged for millions of years, bats’ nocturnal rhythms are being increasingly interrupted by the presence of wind turbines. While noting how such well-intentioned technological developments are affecting the atmosphere in ways we do not always appreciate, Brennan also illuminates how scientific research has revealed a whole sensory dimension that we were previously oblivious to.


The film circles around the figure of Donald Griffin, pioneering zoologist and early advocate of animal consciousness, whose researches into bat navigation helped shape our understanding of the concept of echolocation. Following his example, Brennan reminds us, too, of other natural marvels – from the mysteries of animal evolution or the deep historical time of geology – that reveal not only our humbling insignificance in the bigger scheme of things, but also the disproportionate damage we are capable of doing to the planet.


Director: Maeve Brennan; Director of photography: Jamie Quantrill; Editor: Mariko Montpetit; Producer: Laura Shacham


Listening in the Dark was commissioned for the Jerwood/​FVU Awards 2018: Unintended Consequences, a collaboration between Jerwood Charitable Foundation and Film and Video Umbrella.

Maeve Brennan is a London-based artist and filmmaker. Her recent solo exhibitions include Listening in the Dark at Jerwood Space, London, and Mother’s Tankstation, Dublin; The Drift at Chisenhale Gallery, London, and Spike Island, Bristol (all 2017); and Jerusalem Pink, OUTPOST, Norwich (2016). She was educated at Goldsmiths, University of London, and was a fellow of the Home Workspace Programme at Ashkal Alwan in Beirut (2013 – 14). She received the Jerwood/​FVU Award 2018 and her film The Drift was screened at International Film Festival Rotterdam.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Post-Screening Discussion: Maeve Brennan in conversation with Mirna Belina

22 February – De Brakke Grond, Amsterdam, The Netherlands


Following the screening of Listening in the Dark (44 min, 2018), Maeve Brennan discusses the film with Mirna Belina and takes questions from the audience.

Maeve Brennan’s film Listening in the Dark (44 min, 2018) takes a documentary approach, gathering a series of subtle yet penetrating soundings of human beings’ impact on the natural environment. Undisturbed, and largely unchanged for millions of years, bats’ nocturnal rhythms are being increasingly interrupted by the presence of wind turbines. While noting how such well-intentioned technological developments are affecting the atmosphere in ways we do not always appreciate, Brennan also illuminates how scientific research has revealed a whole sensory dimension that we were previously oblivious to.


The film circles around the figure of Donald Griffin, pioneering zoologist and early advocate of animal consciousness, whose researches into bat navigation helped shape our understanding of the concept of echolocation. Following his example, Brennan reminds us, too, of other natural marvels – from the mysteries of animal evolution or the deep historical time of geology – that reveal not only our humbling insignificance in the bigger scheme of things, but also the disproportionate damage we are capable of doing to the planet.


Director: Maeve Brennan; Director of photography: Jamie Quantrill; Editor: Mariko Montpetit; Producer: Laura Shacham


Listening in the Dark was commissioned for the Jerwood/​FVU Awards 2018: Unintended Consequences, a collaboration between Jerwood Charitable Foundation and Film and Video Umbrella.

Maeve Brennan is a London-based artist and filmmaker. Her recent solo exhibitions include Listening in the Dark at Jerwood Space, London, and Mother’s Tankstation, Dublin; The Drift at Chisenhale Gallery, London, and Spike Island, Bristol (all 2017); and Jerusalem Pink, OUTPOST, Norwich (2016). She was educated at Goldsmiths, University of London, and was a fellow of the Home Workspace Programme at Ashkal Alwan in Beirut (2013 – 14). She received the Jerwood/​FVU Award 2018 and her film The Drift was screened at International Film Festival Rotterdam.

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]]> Sonic Acts 2019: Post-Screening Discussion with Tony Cokes Sonic Acts 2019: Post-Screening Discussion with Tony Cokes Mon, 27 May 2019 09:59:36 GMT 22:10 tag:soundcloud,2010:tracks/623549517 false https://soundcloud.com/sonicacts/post-screening-discussion-tony-cokes 67b74fd8b6cab9efc4ad69eb 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERPost-Screeni… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Post-Screening Discussion: Tony Cokes in conversation with Mirna Belina.

23 February – De Brakke Grond, Amsterdam, The Netherlands


Following the screening of Black Celebration (1988, 17 min) Tony Cokes discusses the film with Mirna Belina and takes questions from the audience.

In Black Celebration (1988, 17 min), Tony Cokes merges newsreel footage of riots in urban black neighbourhoods in the 1960s with popular music and text commentary to create an incisive counter-reading. ​‘This videotape involves the riots that took place in the Watts section of Los Angeles, California in August, 1965 and the Black neighbourhoods of other American cities during the 1960s. The black and white work uses newsreel footage from events in Watts, Boston, Newark, and Detroit interspersed with text commentary. The newsreel voiceovers are replaced by music. The intent of the piece is to introduce a reading that will contradict received ideas which characterise these riots as criminal or irrational.’ (T.C.)


Black Celebration was made for the Bronx Museum of the Arts. Text: Morrissey, Martin L. Gore, Barbara Kruger, The Situationists International; Music: Skinny Puppy; Editor: Eleanor Goldsmith.

Tony Cokes makes video, installation, print, sound and other works that reframe appropriated texts to reflect upon capitalism, subjectivity, knowledge and pleasure. Cokes deploys sound as a crucial, intertextual element, complicating minimal visuals. He has shown works internationally at venues including Centre Georges Pompidou, Museum of Modern Art, Whitney Museum, ZKM, REDCAT and La Cinémathèque Française. Cokes has screened at festivals including the Berlin Biennale X, International Film Festival Rotterdam, Rencontres Internationales Paris/​Berlin/​Madrid and Oberhausen. Cokes is Professor in Modern Culture and Media at Brown University, Providence, RI. His work is represented by Greene Naftali Gallery, New York.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Post-Screening Discussion: Tony Cokes in conversation with Mirna Belina.

23 February – De Brakke Grond, Amsterdam, The Netherlands


Following the screening of Black Celebration (1988, 17 min) Tony Cokes discusses the film with Mirna Belina and takes questions from the audience.

In Black Celebration (1988, 17 min), Tony Cokes merges newsreel footage of riots in urban black neighbourhoods in the 1960s with popular music and text commentary to create an incisive counter-reading. ​‘This videotape involves the riots that took place in the Watts section of Los Angeles, California in August, 1965 and the Black neighbourhoods of other American cities during the 1960s. The black and white work uses newsreel footage from events in Watts, Boston, Newark, and Detroit interspersed with text commentary. The newsreel voiceovers are replaced by music. The intent of the piece is to introduce a reading that will contradict received ideas which characterise these riots as criminal or irrational.’ (T.C.)


Black Celebration was made for the Bronx Museum of the Arts. Text: Morrissey, Martin L. Gore, Barbara Kruger, The Situationists International; Music: Skinny Puppy; Editor: Eleanor Goldsmith.

Tony Cokes makes video, installation, print, sound and other works that reframe appropriated texts to reflect upon capitalism, subjectivity, knowledge and pleasure. Cokes deploys sound as a crucial, intertextual element, complicating minimal visuals. He has shown works internationally at venues including Centre Georges Pompidou, Museum of Modern Art, Whitney Museum, ZKM, REDCAT and La Cinémathèque Française. Cokes has screened at festivals including the Berlin Biennale X, International Film Festival Rotterdam, Rencontres Internationales Paris/​Berlin/​Madrid and Oberhausen. Cokes is Professor in Modern Culture and Media at Brown University, Providence, RI. His work is represented by Greene Naftali Gallery, New York.

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]]> Sonic Acts 2019: Post-Screening Discussion with Ephraim Asili Sonic Acts 2019: Post-Screening Discussion with Ephraim Asili Mon, 27 May 2019 09:59:31 GMT 38:03 tag:soundcloud,2010:tracks/623550372 false https://soundcloud.com/sonicacts/post-screening-discussion-ephraim-asili 67b74fde6f2e96290c867038 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERPost-Screeni… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Post-Screening Discussion: Ephraim Asili in conversation with Mirna Belina.

23 February – De Brakke Grond, Amsterdam, The Netherlands


Following the screening of American Hunger (2013, 19 min) and Fluid Frontiers (2017, 23 min) Ephraim Asili discusses the films with Mirna Belina and takes questions from the audience.

In seven years, from 2011 to 2017, Ephraim Asili has completed a remarkable cycle of films called The Diaspora Suite about his relationship with the greater African diaspora. These films – Forged Ways, American Hunger, Many Thousands Gone, Kindah and Fluid Frontiers – document not only his travels across Brazil, Canada, Ethiopia, Ghana, Jamaica and the United States, but also a personal meditation on the constructs surrounding African-American cultural identity. With his observational 16mm cinematography and evocative use of sound and music, Asili is both critical and speculative, listening intently to the resonances of words and gestures that span centuries and oceans.


Oscillating between a street festival in Philadelphia, the slave forts and capital city of Ghana and the New Jersey shore, American Hunger (2013, 19 min) explores the relationship between personal experience and collective histories. American fantasies confront African realities. African realities confront American fantasies.


Fluid Frontiers (2017, 23 min) is the final film in the Diaspora Suite. Shot along the Detroit River, it explores the relationship between concepts of resistance and liberation, exemplified by the Underground Railroad, Broadside Press and artworks of local Detroit artists. All of the poems are read from original copies of Broadside Press publications by natives of the Detroit Windsor region, and were shot without rehearsal.


Ephraim Asili is a filmmaker, DJ and traveler whose work focuses on the African diaspora as a cultural force. His films have been screened at festivals and venues all over the world, including the New York Film Festival, Toronto International Film Festival, Ann Arbor Film Festival, San Francisco International Film Festival, International Film Festival Rotterdam, MoMA PS1, Museum of Fine Arts in Boston and the Whitney Museum. As a DJ, Asili can be heard live at his monthly dance party Botanica. He currently resides in Hudson, NY, and is a professor in the Film and Electronic Arts Department at Bard College.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Post-Screening Discussion: Ephraim Asili in conversation with Mirna Belina.

23 February – De Brakke Grond, Amsterdam, The Netherlands


Following the screening of American Hunger (2013, 19 min) and Fluid Frontiers (2017, 23 min) Ephraim Asili discusses the films with Mirna Belina and takes questions from the audience.

In seven years, from 2011 to 2017, Ephraim Asili has completed a remarkable cycle of films called The Diaspora Suite about his relationship with the greater African diaspora. These films – Forged Ways, American Hunger, Many Thousands Gone, Kindah and Fluid Frontiers – document not only his travels across Brazil, Canada, Ethiopia, Ghana, Jamaica and the United States, but also a personal meditation on the constructs surrounding African-American cultural identity. With his observational 16mm cinematography and evocative use of sound and music, Asili is both critical and speculative, listening intently to the resonances of words and gestures that span centuries and oceans.


Oscillating between a street festival in Philadelphia, the slave forts and capital city of Ghana and the New Jersey shore, American Hunger (2013, 19 min) explores the relationship between personal experience and collective histories. American fantasies confront African realities. African realities confront American fantasies.


Fluid Frontiers (2017, 23 min) is the final film in the Diaspora Suite. Shot along the Detroit River, it explores the relationship between concepts of resistance and liberation, exemplified by the Underground Railroad, Broadside Press and artworks of local Detroit artists. All of the poems are read from original copies of Broadside Press publications by natives of the Detroit Windsor region, and were shot without rehearsal.


Ephraim Asili is a filmmaker, DJ and traveler whose work focuses on the African diaspora as a cultural force. His films have been screened at festivals and venues all over the world, including the New York Film Festival, Toronto International Film Festival, Ann Arbor Film Festival, San Francisco International Film Festival, International Film Festival Rotterdam, MoMA PS1, Museum of Fine Arts in Boston and the Whitney Museum. As a DJ, Asili can be heard live at his monthly dance party Botanica. He currently resides in Hudson, NY, and is a professor in the Film and Electronic Arts Department at Bard College.

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]]> Sonic Acts 2019: Post-Screening Discussion with Louis Henderson Sonic Acts 2019: Post-Screening Discussion with Louis Henderson Mon, 27 May 2019 09:59:26 GMT 16:13 tag:soundcloud,2010:tracks/623551062 false https://soundcloud.com/sonicacts/post-screening-discussion-louis-henderson 67b74fdd6f2e96290c86701a 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERPost-Screeni… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Post-Screening Discussion: Louis Henderson

23 February – De Brakke Grond, Amsterdam, The Netherlands


Following the screening of Bring breath to the death of rocks (2018, 34 min)(work in progress) Louis Henderson discusses the films with Mirna Belina.

‘I feel this force that draws me towards the invisible doorway, and it is like a fire burning in my stiffened limbs. So I must walk through the fields of snow… there, to where my resting place is already prepared.’ (Édouard Glissant, Monsieur Toussaint, 1961)


Wandering from a study of the handwritten memoirs of Toussaint Louverture in the French National Archives to the prison cell in the Jura mountains in which they were written, Bring breath to the death of rocks (2018, 34 min) proposes an archaeology of the colonial history of France buried within its landscapes and institutions. Many millions of years ago the Jura was a tropical ocean, as it metamorphosed into the mountain range it is today it left behind large sedimented layers of time, creating the strata that fold along the horizon line. If stratigraphy is the writing of strata, here we have a reading of this strata in which the fossilised history of Louverture can be brought to life through a geologic haunting. The film dramatises the escape of Louverture’s ghost from his castle prison (through the body of a young Haitian researcher) into a form of marronage and errantry within the fields of snow and a dark baroque-like cave. Through historical détournement the past is revisited in order to imagine an alternative future, and in doing so the film offers what Glissant described in the introduction to his play Monsieur Toussaint as ​‘a prophetic vision of the past’. We hear an echo, a spiral retelling.


Featuring extracts of text from Monsieur Toussaint by Édouard Glissant (1959) and Cahier d’un retour au pays natal (1939) by Aimé Césaire. Actor: Jephthé Carmil, DOP: Diana Vidrascu, Editor: Louis Henderson, Producer: Olivier Marboeuf, Spectre Productions. Work in progress.


Louis Henderson is a filmmaker who is trying to find new ways of working with people to address and question our current global condition defined by racial capitalism and ever-present histories of the European colonial project. Interested in exploring the sonic space of images, his work aims to develop an archaeological method in cinema, listening to the echoes and spirals of the stratigraphic. Since 2017, Henderson has been working within the artist group The Living and the Dead Ensemble. Based between Haiti and France, they focus on theatre, song, slam, poetry and cinema. Henderson has shown his work at various film festivals, exhibitions and biennials worldwide. His work is in the public collection of the Centre National des Arts Plastiques, France, and is distributed by LUX and Video Data Bank.

Hosted on Acast. See acast.com/privacy for more information.

]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Post-Screening Discussion: Louis Henderson

23 February – De Brakke Grond, Amsterdam, The Netherlands


Following the screening of Bring breath to the death of rocks (2018, 34 min)(work in progress) Louis Henderson discusses the films with Mirna Belina.

‘I feel this force that draws me towards the invisible doorway, and it is like a fire burning in my stiffened limbs. So I must walk through the fields of snow… there, to where my resting place is already prepared.’ (Édouard Glissant, Monsieur Toussaint, 1961)


Wandering from a study of the handwritten memoirs of Toussaint Louverture in the French National Archives to the prison cell in the Jura mountains in which they were written, Bring breath to the death of rocks (2018, 34 min) proposes an archaeology of the colonial history of France buried within its landscapes and institutions. Many millions of years ago the Jura was a tropical ocean, as it metamorphosed into the mountain range it is today it left behind large sedimented layers of time, creating the strata that fold along the horizon line. If stratigraphy is the writing of strata, here we have a reading of this strata in which the fossilised history of Louverture can be brought to life through a geologic haunting. The film dramatises the escape of Louverture’s ghost from his castle prison (through the body of a young Haitian researcher) into a form of marronage and errantry within the fields of snow and a dark baroque-like cave. Through historical détournement the past is revisited in order to imagine an alternative future, and in doing so the film offers what Glissant described in the introduction to his play Monsieur Toussaint as ​‘a prophetic vision of the past’. We hear an echo, a spiral retelling.


Featuring extracts of text from Monsieur Toussaint by Édouard Glissant (1959) and Cahier d’un retour au pays natal (1939) by Aimé Césaire. Actor: Jephthé Carmil, DOP: Diana Vidrascu, Editor: Louis Henderson, Producer: Olivier Marboeuf, Spectre Productions. Work in progress.


Louis Henderson is a filmmaker who is trying to find new ways of working with people to address and question our current global condition defined by racial capitalism and ever-present histories of the European colonial project. Interested in exploring the sonic space of images, his work aims to develop an archaeological method in cinema, listening to the echoes and spirals of the stratigraphic. Since 2017, Henderson has been working within the artist group The Living and the Dead Ensemble. Based between Haiti and France, they focus on theatre, song, slam, poetry and cinema. Henderson has shown his work at various film festivals, exhibitions and biennials worldwide. His work is in the public collection of the Centre National des Arts Plastiques, France, and is distributed by LUX and Video Data Bank.

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]]> Sonic Acts 2019: Rick Dolphijn – (The Earth Demands) The Necropolitics of Art Sonic Acts 2019: Rick Dolphijn – (The Earth Demands) The Necropolitics of Art Wed, 15 May 2019 13:49:06 GMT 35:27 tag:soundcloud,2010:tracks/620987175 false https://soundcloud.com/sonicacts/saf19-rickdolphijn-audio 67b74fddaf08fb18338cbded 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERRick Dolphij… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Rick Dolphijn – (The Earth Demands) The Necropolitics of Art – Introduction by Lucas van der Velden

22 February – De Brakke Grond, Amsterdam, The Netherlands


'The present… is what we are, and thereby, what already we are ceasing to be.' (Deleuze and Guattari)


In the first part of this talk, Rick Dolphijn will discuss the necropolitics of art. He will talk of the difficult relation that art has with the present and why the power of art is not ‘finite’ (not limited to any form of ‘extension’). Art shares this ‘infinity’ only with philosophy. This ‘infinity’ also shows that art does not run parallel to a human life, that it knows no beginning (birth) or end (death), but that it keeps on negotiating its relationship to the present. The second part of the talk claims that art therefore is, necessarily a philosophy of nature and that it envisions for us another world (which was always already there).


Rick Dolphijn is an associate professor based at Humanities, Utrecht University, with an interest in transdisciplinary research at large. He wrote Foodscapes, Towards a Deleuzian Ethics of Consumption (2004), New Materialism: Interviews and Cartographies with Iris van der Tuin (2012) and is finishing his new monograph The Cracks of the Contemporary; A Meditation on Art, Wounds and a Damaged Earth. He edited This Deleuzian Century: Art, Activism, Life with Rosi Braidotti (2014 – 5) and Philosophy after Nature (2017). Most recently he published and edited volume entitled Michel Serres and the Crises of the Contemporary. At Sonic Acts Academy 2018, Dolphijn curated a conference block What, of Art, Belongs to the Present? with students and scholars from the Research School for Media Studies (RMeS). This year, he is joining Sonic Acts as an organiser of the large project including a seminar Exploring Death… and Ways to Live, close reading session Still Alive and Already Dead and a workshop A Necropolitics of Life (RMeS, February), with a final output at the Sonic Acts conference featuring lectures by Rosi Braidotti and Susanne M. Winterling.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Rick Dolphijn – (The Earth Demands) The Necropolitics of Art – Introduction by Lucas van der Velden

22 February – De Brakke Grond, Amsterdam, The Netherlands


'The present… is what we are, and thereby, what already we are ceasing to be.' (Deleuze and Guattari)


In the first part of this talk, Rick Dolphijn will discuss the necropolitics of art. He will talk of the difficult relation that art has with the present and why the power of art is not ‘finite’ (not limited to any form of ‘extension’). Art shares this ‘infinity’ only with philosophy. This ‘infinity’ also shows that art does not run parallel to a human life, that it knows no beginning (birth) or end (death), but that it keeps on negotiating its relationship to the present. The second part of the talk claims that art therefore is, necessarily a philosophy of nature and that it envisions for us another world (which was always already there).


Rick Dolphijn is an associate professor based at Humanities, Utrecht University, with an interest in transdisciplinary research at large. He wrote Foodscapes, Towards a Deleuzian Ethics of Consumption (2004), New Materialism: Interviews and Cartographies with Iris van der Tuin (2012) and is finishing his new monograph The Cracks of the Contemporary; A Meditation on Art, Wounds and a Damaged Earth. He edited This Deleuzian Century: Art, Activism, Life with Rosi Braidotti (2014 – 5) and Philosophy after Nature (2017). Most recently he published and edited volume entitled Michel Serres and the Crises of the Contemporary. At Sonic Acts Academy 2018, Dolphijn curated a conference block What, of Art, Belongs to the Present? with students and scholars from the Research School for Media Studies (RMeS). This year, he is joining Sonic Acts as an organiser of the large project including a seminar Exploring Death… and Ways to Live, close reading session Still Alive and Already Dead and a workshop A Necropolitics of Life (RMeS, February), with a final output at the Sonic Acts conference featuring lectures by Rosi Braidotti and Susanne M. Winterling.

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]]> Sonic Acts 2019: Susanne M. Winterling – Gravitational Currents and The Life Magic Sonic Acts 2019: Susanne M. Winterling – Gravitational Currents and The Life Magic Wed, 15 May 2019 13:49:05 GMT 31:10 tag:soundcloud,2010:tracks/620987169 false https://soundcloud.com/sonicacts/saf19-susannemwinterling-audio 67b74fdaaf08fb18338cbd89 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERSusanne M. W… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Susanne M. Winterling – Gravitational Currents and The Life Magic – Introduction by Rick Dolphijn

22 February – De Brakke Grond, Amsterdam, The Netherlands


In her conference talk, Susanne M. Winterling will show some of her recent works including Planetary Opera In Three Acts, Divided By The Currents (2018), a composition of sounds, natural and synthetic, documentary and imaginary. The composition includes hydrophone recordings of dinoflagellates, the sound of green turtles hatching, crabs rubbing their claws together and other ecological marvels. Enacted is a sensory inversion of the dominant anthropocentric dynamics that governs our sensual and political consciousness. What if we try to reverse the scale and focus, and deploy historical forms of media, usually associated with the internal human drama, to express the drama of the planet instead? Sensors of change and actors in climate change, the tiny protozoa in this imaginary aim to generate a new sense of interspecies alliance; a connection to blur the nature-culture division, the entangled social and ecological conflicts and actual structures reproducing violence. Let’s join the creatures that dwell within planetary space and through the currents.


Susanne M. Winterling was born and works in Rehau, Germany. Working across a variety of media including film, photography, sculpture and performance, Winterling is primarily known for her time-based installations which critically engage the representation of reality. Prevailing modernist concepts, power structures and hierarchical historiographies are captured and investigated in her work in the form of spatial constellations. With an emphasis on enhancing our perceptual and critical consciousness, Winterling undertakes affective and material-based research that highlights the subjective interaction between producers, viewers, materials and species in our ecology. Recent exhibitions include ICA Philadelphia, MIT List Center Boston, Contour Biennale, Empty Gallery HongKong, TBA21 Vienna, MoMa Dubrovnik, etc.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Susanne M. Winterling – Gravitational Currents and The Life Magic – Introduction by Rick Dolphijn

22 February – De Brakke Grond, Amsterdam, The Netherlands


In her conference talk, Susanne M. Winterling will show some of her recent works including Planetary Opera In Three Acts, Divided By The Currents (2018), a composition of sounds, natural and synthetic, documentary and imaginary. The composition includes hydrophone recordings of dinoflagellates, the sound of green turtles hatching, crabs rubbing their claws together and other ecological marvels. Enacted is a sensory inversion of the dominant anthropocentric dynamics that governs our sensual and political consciousness. What if we try to reverse the scale and focus, and deploy historical forms of media, usually associated with the internal human drama, to express the drama of the planet instead? Sensors of change and actors in climate change, the tiny protozoa in this imaginary aim to generate a new sense of interspecies alliance; a connection to blur the nature-culture division, the entangled social and ecological conflicts and actual structures reproducing violence. Let’s join the creatures that dwell within planetary space and through the currents.


Susanne M. Winterling was born and works in Rehau, Germany. Working across a variety of media including film, photography, sculpture and performance, Winterling is primarily known for her time-based installations which critically engage the representation of reality. Prevailing modernist concepts, power structures and hierarchical historiographies are captured and investigated in her work in the form of spatial constellations. With an emphasis on enhancing our perceptual and critical consciousness, Winterling undertakes affective and material-based research that highlights the subjective interaction between producers, viewers, materials and species in our ecology. Recent exhibitions include ICA Philadelphia, MIT List Center Boston, Contour Biennale, Empty Gallery HongKong, TBA21 Vienna, MoMa Dubrovnik, etc.

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]]> Sonic Acts 2019: Didier Debaise – Out of Nature. How a Concept Became a Political Power? Sonic Acts 2019: Didier Debaise – Out of Nature. How a Concept Became a Political Power? Wed, 15 May 2019 13:49:05 GMT 39:08 tag:soundcloud,2010:tracks/620987166 false https://soundcloud.com/sonicacts/didier-debaise-out-of-nature 67b74fdcb6cab9efc4ad77b3 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERDidier Debai… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Didier Debaise – Out of Nature. How a Concept Became a Political Power? – Introduction by Rick Dolphijn

22 February – De Brakke Grond, Amsterdam, The Netherlands


The moderns have invented ‘nature’ and have made it one of their most important political institutions. Didier Debaise will revisit this very singular adventure through which a number of local inventions, gestures, and operations, namely within experimental systems, have given birth to a new political force. Disconnecting this nature from the very conditions of its emergence and existence, the moderns have instantiated it as an essential actor within the processes of normalisation of practices and as a crucial instrument justifying the extension of their impact on all other territories. Today the question then has become the following: How to resist the hegemonic tendencies of this modern version of nature in order to reinstate space and restore legitimacy to other ways of inhabiting the Earth.


Didier Debaise is a permanent researcher at the Fonds National de la Recherché Scientifique (FNRS) and the director of the Centre of Philosophy at Free University of Brussels (ULB) where he teaches contemporary philosophy. He is the co-founder, with I. Stengers, of the Groupe d’études constructivistes (Geco). His main areas of research are contemporary forms of speculative philosophy, theories of events, and links between American pragmatism and the French contemporary philosophy. He is director of a collection in Presses du réel, member of the editorial board of the journal Multitudes and Inflexions. He wrote three books on Whitehead’s philosophy, edited volumes on pragmatism, on the history of contemporary metaphysics, and he wrote numerous papers on Bergson, Tarde, Souriau, Simondon, and Deleuze. Two of his books are translated in English: Nature as Event and A Speculative Empiricism. He is working on a new book called Pragmatique de la terre.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Didier Debaise – Out of Nature. How a Concept Became a Political Power? – Introduction by Rick Dolphijn

22 February – De Brakke Grond, Amsterdam, The Netherlands


The moderns have invented ‘nature’ and have made it one of their most important political institutions. Didier Debaise will revisit this very singular adventure through which a number of local inventions, gestures, and operations, namely within experimental systems, have given birth to a new political force. Disconnecting this nature from the very conditions of its emergence and existence, the moderns have instantiated it as an essential actor within the processes of normalisation of practices and as a crucial instrument justifying the extension of their impact on all other territories. Today the question then has become the following: How to resist the hegemonic tendencies of this modern version of nature in order to reinstate space and restore legitimacy to other ways of inhabiting the Earth.


Didier Debaise is a permanent researcher at the Fonds National de la Recherché Scientifique (FNRS) and the director of the Centre of Philosophy at Free University of Brussels (ULB) where he teaches contemporary philosophy. He is the co-founder, with I. Stengers, of the Groupe d’études constructivistes (Geco). His main areas of research are contemporary forms of speculative philosophy, theories of events, and links between American pragmatism and the French contemporary philosophy. He is director of a collection in Presses du réel, member of the editorial board of the journal Multitudes and Inflexions. He wrote three books on Whitehead’s philosophy, edited volumes on pragmatism, on the history of contemporary metaphysics, and he wrote numerous papers on Bergson, Tarde, Souriau, Simondon, and Deleuze. Two of his books are translated in English: Nature as Event and A Speculative Empiricism. He is working on a new book called Pragmatique de la terre.

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]]> Sonic Acts 2019: Irit Rogoff – Becoming Research Sonic Acts 2019: Irit Rogoff – Becoming Research Wed, 15 May 2019 13:49:04 GMT 32:04 tag:soundcloud,2010:tracks/620987154 false https://soundcloud.com/sonicacts/irit-rogoff-becoming-research 67b74fdfaf08fb18338cbe5c 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERIrit Rogoff … full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Irit Rogoff – Becoming Research – Introduction by Lucas van der Velden.

22 February – De Brakke Grond, Amsterdam, The Netherlands


'Research' as we experience it now in both institutional and culturally active contexts has moved away from stable bodies of knowledge to be excavated as well as away from recognised subjects whose validity is universally recognised. ‘Research’ models emanating from practice have ceased to be the context or the preparation for work and have become the main event of activity. These have had significant impact on so many arenas of knowledge production across the humanities and the social sciences and have countered the bordering and continents of knowledge towards platforms of shared subjectivity. ‘Research’ is now the arena in which we negotiate knowledge that we have inherited with the conditions of our lives. Those conditions, whether economic, geographical or propelled by subjectivity, have become the drive (not the subject matter) of the work. Through immersion in conditions, ‘research’ transforms from an investigative impulse to the constitution of new realities. It is thus that we recognise that ‘research’ is not some elevated activity requiring a great deal of prior knowledge, nor is it simply the urge to ‘find things out’. It is in many ways the stuff of daily life. The forms of current research have equally shifted, as contemporary, multivalent ‘research’ moves between archival, documentary, conceptual and performative modes, and utilises everything from fictioning, docu-dramatising to mimicry the queer animation of archives and structural self-instituting to produce new realities of knowledge.


Irit Rogoff is a writer, teacher, theorist and curator. She is Professor of Visual Culture at Goldsmiths, University of London, a department she founded in 2002. Rogoff works at the meeting ground between contemporary practices, politics and philosophy. Her current work is on new practices of knowledge production and their impact on modes of research, under the title of Becoming Research (forthcoming). As part of the collective freethought, Rogoff was one of the artistic directors of The Bergen Assembly, 2016 and editor of The Infrastructural Condition published in its wake. Rogoff is also co-founder of The European Forum for Advanced Practices in 2017. Her publications include Looking Away – Participating Singularities, Ontological Communities (2013), Visual Cultures as Seriousness (2013) (with Gavin Butt), Unbounded: Limits’ Possibilities (2012), Terra Infirma: Geography’s Visual Culture (2000).

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Irit Rogoff – Becoming Research – Introduction by Lucas van der Velden.

22 February – De Brakke Grond, Amsterdam, The Netherlands


'Research' as we experience it now in both institutional and culturally active contexts has moved away from stable bodies of knowledge to be excavated as well as away from recognised subjects whose validity is universally recognised. ‘Research’ models emanating from practice have ceased to be the context or the preparation for work and have become the main event of activity. These have had significant impact on so many arenas of knowledge production across the humanities and the social sciences and have countered the bordering and continents of knowledge towards platforms of shared subjectivity. ‘Research’ is now the arena in which we negotiate knowledge that we have inherited with the conditions of our lives. Those conditions, whether economic, geographical or propelled by subjectivity, have become the drive (not the subject matter) of the work. Through immersion in conditions, ‘research’ transforms from an investigative impulse to the constitution of new realities. It is thus that we recognise that ‘research’ is not some elevated activity requiring a great deal of prior knowledge, nor is it simply the urge to ‘find things out’. It is in many ways the stuff of daily life. The forms of current research have equally shifted, as contemporary, multivalent ‘research’ moves between archival, documentary, conceptual and performative modes, and utilises everything from fictioning, docu-dramatising to mimicry the queer animation of archives and structural self-instituting to produce new realities of knowledge.


Irit Rogoff is a writer, teacher, theorist and curator. She is Professor of Visual Culture at Goldsmiths, University of London, a department she founded in 2002. Rogoff works at the meeting ground between contemporary practices, politics and philosophy. Her current work is on new practices of knowledge production and their impact on modes of research, under the title of Becoming Research (forthcoming). As part of the collective freethought, Rogoff was one of the artistic directors of The Bergen Assembly, 2016 and editor of The Infrastructural Condition published in its wake. Rogoff is also co-founder of The European Forum for Advanced Practices in 2017. Her publications include Looking Away – Participating Singularities, Ontological Communities (2013), Visual Cultures as Seriousness (2013) (with Gavin Butt), Unbounded: Limits’ Possibilities (2012), Terra Infirma: Geography’s Visual Culture (2000).

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]]> <![CDATA[Sonic Acts 2019: Sasha Litvintseva & Beny Wagner – Universal Syntax]]> Wed, 15 May 2019 13:49:03 GMT 34:15 tag:soundcloud,2010:tracks/620987145 false https://soundcloud.com/sonicacts/saf19-sashalitvintseva 67b74fcd6f2e96290c865f16 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERSasha Litvin… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Sasha Litvintseva, Beny Wagner – Universal Syntax – Introduction by Victoria Douka-Doukopoulou.

22 February – De Brakke Grond, Amsterdam, The Netherlands


This talk will introduce a long-term collaborative project, Universal Syntax, by Sasha Litvintseva and Beny Wagner which seeks to untangle the human tendency to read the natural world as a text. The long and remarkably consistent history of the use of text as a metaphor for the interpretation of the natural world, present from ancient Babylonian observational practices, to Galileo’s reading of the solar system all the way to the human genome project, is ultimately the history of the human inability to experience the world unmediated. This is as much a history of media and technology as it is of science, culture and philosophy. As an entry point into the project, Litvintseva and Wagner will unpack some predominant theories of narrative structure and the metaphors they are based on, as a way to elaborate on alternative narrative models capable of responding to the complexities of contemporary perceptual realities.


Sasha Litvintseva is an artist, filmmaker and researcher. Her work has been exhibited worldwide, including at Berlinale, Rotterdam International Film Festival, Videobrasil and Wroclaw Media Art Biennale, as well as solo presentations at Institute of Contemporary Art, London, Berlinische Galerie, Museum of Contemporary Art, Chicago and Courtisane Film Festival, Ghent, among many others. She is a lecturer in Film Studies at Queen Mary University of London and is currently completing a PhD at Goldsmiths, University of London. Her academic writing has appeared in special issues of Environmental Humanities and Transformations journals, and numerous book volumes.


Beny Wagner is an artist, filmmaker and writer. His research themes include the cyclical regeneration of media technologies, history of science, thresholds of human and nonhuman life, affective feedback, agricultural production and politics of waste. He has presented his work internationally, including at International Film Festival Rotterdam, Berlin Atonal, Media Art Biennale WRO, Movimenta Biennale, Haus der Kulturen der Welt, Eye Film Museum, Impakt Festival and Venice Biennale, among many others. His work has been featured in Artforum, Spike Art Magazine, Frieze, Kaleidoscope, Flash Art and Die Zeit. Wagner graduated from Bard College in 2008. He was a researcher at Jan van Eyck Academy and is currently a senior lecturer at the Gerrit Rietveld Academy in Amsterdam. He is working with Sasha Litvintseva on a long-term collaborative project Universal Syntax.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Sasha Litvintseva, Beny Wagner – Universal Syntax – Introduction by Victoria Douka-Doukopoulou.

22 February – De Brakke Grond, Amsterdam, The Netherlands


This talk will introduce a long-term collaborative project, Universal Syntax, by Sasha Litvintseva and Beny Wagner which seeks to untangle the human tendency to read the natural world as a text. The long and remarkably consistent history of the use of text as a metaphor for the interpretation of the natural world, present from ancient Babylonian observational practices, to Galileo’s reading of the solar system all the way to the human genome project, is ultimately the history of the human inability to experience the world unmediated. This is as much a history of media and technology as it is of science, culture and philosophy. As an entry point into the project, Litvintseva and Wagner will unpack some predominant theories of narrative structure and the metaphors they are based on, as a way to elaborate on alternative narrative models capable of responding to the complexities of contemporary perceptual realities.


Sasha Litvintseva is an artist, filmmaker and researcher. Her work has been exhibited worldwide, including at Berlinale, Rotterdam International Film Festival, Videobrasil and Wroclaw Media Art Biennale, as well as solo presentations at Institute of Contemporary Art, London, Berlinische Galerie, Museum of Contemporary Art, Chicago and Courtisane Film Festival, Ghent, among many others. She is a lecturer in Film Studies at Queen Mary University of London and is currently completing a PhD at Goldsmiths, University of London. Her academic writing has appeared in special issues of Environmental Humanities and Transformations journals, and numerous book volumes.


Beny Wagner is an artist, filmmaker and writer. His research themes include the cyclical regeneration of media technologies, history of science, thresholds of human and nonhuman life, affective feedback, agricultural production and politics of waste. He has presented his work internationally, including at International Film Festival Rotterdam, Berlin Atonal, Media Art Biennale WRO, Movimenta Biennale, Haus der Kulturen der Welt, Eye Film Museum, Impakt Festival and Venice Biennale, among many others. His work has been featured in Artforum, Spike Art Magazine, Frieze, Kaleidoscope, Flash Art and Die Zeit. Wagner graduated from Bard College in 2008. He was a researcher at Jan van Eyck Academy and is currently a senior lecturer at the Gerrit Rietveld Academy in Amsterdam. He is working with Sasha Litvintseva on a long-term collaborative project Universal Syntax.

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]]> Sonic Acts 2019: Jodi Dean – Communism or Feudalism? Sonic Acts 2019: Jodi Dean – Communism or Feudalism? Wed, 15 May 2019 13:49:03 GMT 37:30 tag:soundcloud,2010:tracks/620987139 false https://soundcloud.com/sonicacts/saf19-jodidean-audio 67b74fdab6cab9efc4ad6a60 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERJodi Dean – … full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Jodi Dean – Communism or Feudalism? – Introduction by Ash Sarkar

23 February – De Brakke Grond, Amsterdam, The Netherlands


In the twentieth century, much of the Left understood society as facing a choice between socialism and barbarism (to use the phrase made famous by Rosa Luxemburg). By the century’s end, some argued that the experiments of state socialism were themselves barbaric. Others pointed out that the reality that unfolded after 1989 proved the truth of the choice: the end of socialism had led to unbearable barbarisms of extreme inequality, militarism and environmental degradation. This presentation by Jodi Dean suggests that the twenty-first century forces us to confront a new choice: communism or feudalism. It presents two speculative futures and suggests the paths leading to each.


Jodi Dean is Professor of Political Science at Hobart and William Smith Colleges in Geneva, New York. She has held the position of Erasmus Professor of the Humanities at University of Rotterdam. Her many books include Democracy and Other Neoliberal Fantasies (2009), The Communist Horizon (2010), Crowds and Party (2016). Her book, Comrade: An Essay on Political Belonging, is forthcoming this year from Verso.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Jodi Dean – Communism or Feudalism? – Introduction by Ash Sarkar

23 February – De Brakke Grond, Amsterdam, The Netherlands


In the twentieth century, much of the Left understood society as facing a choice between socialism and barbarism (to use the phrase made famous by Rosa Luxemburg). By the century’s end, some argued that the experiments of state socialism were themselves barbaric. Others pointed out that the reality that unfolded after 1989 proved the truth of the choice: the end of socialism had led to unbearable barbarisms of extreme inequality, militarism and environmental degradation. This presentation by Jodi Dean suggests that the twenty-first century forces us to confront a new choice: communism or feudalism. It presents two speculative futures and suggests the paths leading to each.


Jodi Dean is Professor of Political Science at Hobart and William Smith Colleges in Geneva, New York. She has held the position of Erasmus Professor of the Humanities at University of Rotterdam. Her many books include Democracy and Other Neoliberal Fantasies (2009), The Communist Horizon (2010), Crowds and Party (2016). Her book, Comrade: An Essay on Political Belonging, is forthcoming this year from Verso.

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]]> Sonic Acts 2019: Gregory Sholette – Can an Anti-Capitalist Avant-Garde Art Survive in a World of... Sonic Acts 2019: Gregory Sholette – Can an Anti-Capitalist Avant-Garde Art Survive in a World of... Wed, 15 May 2019 13:49:02 GMT 46:31 tag:soundcloud,2010:tracks/620987130 false https://soundcloud.com/sonicacts/gregory-sholette-can-an-anti 67b74fd7b3ef9b9a01305d6e 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERGregory Shol… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Gregory Sholette – Can an Anti-Capitalist Avant-Garde Art Survive in a World of Lolcats, Doomsday Preppers and Xenophobic Frog Memes? Do We Have a Choice? – Introduction by Ash Sarkar

23 February – De Brakke Grond, Amsterdam, The Netherlands


As artistic activism becomes a signature attribute of contemporary high culture, a wave of museum boycotts, protests, occupations and labour unrest marks our current decade. Meanwhile, much of the post-2008, post-Occupy art generation abhors the multi-billion-euro capitalist art market, even as the very term art is radically shifting, twisting, inverting, if not undergoing an outright self-expulsion from itself as it moves from its familiar white cube dwelling places to occupy the public sphere at an ever-accelerating tempo. But as art joins the everyday social world, its status as a privileged and critical realm that is set apart from the ubiquitous materialistic pursuits of a consumer society is likewise receding from view, and in truth, most high cultural practitioners have yet to really face this new, ‘bare’ art world and what it represents. Nevertheless, as art sheds its centuries-old ideological privilege of autonomy, it is gaining a front-row seat in the contentious struggle to rethink society, as well as the expressive, imaginative and artistic value is generated, for whom, why and to what ends. Still, the question lingers, how will art, especially activist and anti-capitalist art, remain critically radical once fully submerged in a world of lolcats, doomsday preppers and xenophobic frog memes?


Gregory Sholette is an artist, activist and writer. He was a founding member of several collectives such as Political Art Documentation and Distribution, REPOhistory and Gulf Labor. In his artistic work and seven books – including Art as Social Action (with Chloë Bass, 2018), Delirium and Resistance (2017), Dark Matter (2011), It’s The Political Economy, Stupid (with Oliver Ressler, 2012) – Sholette reflects upon decades of activist art that, for its ephemerality, politics and market resistance, might otherwise remain invisible. Sholette holds a PhD in History and Memory Studies from the University of Amsterdam (2017). He teaches Studio Art and co-directs the Social Practice Queens MFA program at Queens College, CUNY. He is an associate of the Art, Design and the Public Domain program of Harvard University’s Graduate School of Design.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Gregory Sholette – Can an Anti-Capitalist Avant-Garde Art Survive in a World of Lolcats, Doomsday Preppers and Xenophobic Frog Memes? Do We Have a Choice? – Introduction by Ash Sarkar

23 February – De Brakke Grond, Amsterdam, The Netherlands


As artistic activism becomes a signature attribute of contemporary high culture, a wave of museum boycotts, protests, occupations and labour unrest marks our current decade. Meanwhile, much of the post-2008, post-Occupy art generation abhors the multi-billion-euro capitalist art market, even as the very term art is radically shifting, twisting, inverting, if not undergoing an outright self-expulsion from itself as it moves from its familiar white cube dwelling places to occupy the public sphere at an ever-accelerating tempo. But as art joins the everyday social world, its status as a privileged and critical realm that is set apart from the ubiquitous materialistic pursuits of a consumer society is likewise receding from view, and in truth, most high cultural practitioners have yet to really face this new, ‘bare’ art world and what it represents. Nevertheless, as art sheds its centuries-old ideological privilege of autonomy, it is gaining a front-row seat in the contentious struggle to rethink society, as well as the expressive, imaginative and artistic value is generated, for whom, why and to what ends. Still, the question lingers, how will art, especially activist and anti-capitalist art, remain critically radical once fully submerged in a world of lolcats, doomsday preppers and xenophobic frog memes?


Gregory Sholette is an artist, activist and writer. He was a founding member of several collectives such as Political Art Documentation and Distribution, REPOhistory and Gulf Labor. In his artistic work and seven books – including Art as Social Action (with Chloë Bass, 2018), Delirium and Resistance (2017), Dark Matter (2011), It’s The Political Economy, Stupid (with Oliver Ressler, 2012) – Sholette reflects upon decades of activist art that, for its ephemerality, politics and market resistance, might otherwise remain invisible. Sholette holds a PhD in History and Memory Studies from the University of Amsterdam (2017). He teaches Studio Art and co-directs the Social Practice Queens MFA program at Queens College, CUNY. He is an associate of the Art, Design and the Public Domain program of Harvard University’s Graduate School of Design.

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]]> Sonic Acts 2019: Flavia Dzodan – The Coloniality of the Algorithm Sonic Acts 2019: Flavia Dzodan – The Coloniality of the Algorithm Wed, 15 May 2019 13:49:01 GMT 46:42 tag:soundcloud,2010:tracks/620987121 false https://soundcloud.com/sonicacts/saf19-flaviadzodan-audio 67b74fddaf08fb18338cbe02 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERFlavia Dzoda… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Flavia Dzodan – The Coloniality of the Algorithm – Introduction by Juha van 't Zelfde

23 February – De Brakke Grond, Amsterdam, The Netherlands


The topic of Flavia Dzodan’s talk is the coloniality of the algorithm or how contemporary technologies became a tool of racial, gender and class exclusions that can be traced back to the foundational moment of modern capitalism in the eighteenth century. The databases that feed algorithms of both corporations and the surveillance state operate through the logic of resource extractives to classify us as voters, consumers, friends, foes, love interests, sex partners, suspects, criminals or potential perpetrators. Each of the steps that leads to these classifications has been informed by centuries old ideologies converging to assign us a role, a place in the database. These taxonomies, or systems of classification, have been in use since colonial times and cannot be detached from a history of racial, gender, sexual or class hierarchies.


Flavia Dzodan is an Amsterdam-based writer, media analyst and cultural critic. She is a lecturer and research fellow at the Critical Studies Department at Sandberg Institute. Her research is focused on the politics of Artificial Intelligence and algorithms at the intersections of (neo)colonialism, race and gender. She is the editor of the blog This Political Woman, where she has written about the rise of the alt-right, Big Data, networks, algorithms and community surveillance. She has been published at Dissent Magazine, The Guardian and The Washington Post, among others.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Flavia Dzodan – The Coloniality of the Algorithm – Introduction by Juha van 't Zelfde

23 February – De Brakke Grond, Amsterdam, The Netherlands


The topic of Flavia Dzodan’s talk is the coloniality of the algorithm or how contemporary technologies became a tool of racial, gender and class exclusions that can be traced back to the foundational moment of modern capitalism in the eighteenth century. The databases that feed algorithms of both corporations and the surveillance state operate through the logic of resource extractives to classify us as voters, consumers, friends, foes, love interests, sex partners, suspects, criminals or potential perpetrators. Each of the steps that leads to these classifications has been informed by centuries old ideologies converging to assign us a role, a place in the database. These taxonomies, or systems of classification, have been in use since colonial times and cannot be detached from a history of racial, gender, sexual or class hierarchies.


Flavia Dzodan is an Amsterdam-based writer, media analyst and cultural critic. She is a lecturer and research fellow at the Critical Studies Department at Sandberg Institute. Her research is focused on the politics of Artificial Intelligence and algorithms at the intersections of (neo)colonialism, race and gender. She is the editor of the blog This Political Woman, where she has written about the rise of the alt-right, Big Data, networks, algorithms and community surveillance. She has been published at Dissent Magazine, The Guardian and The Washington Post, among others.

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]]> Sonic Acts 2019: Tony Cokes – the next ‘revolution’? 07.2001 (revised 02.2019) – or progress doe... Sonic Acts 2019: Tony Cokes – the next ‘revolution’? 07.2001 (revised 02.2019) – or progress doe... Wed, 15 May 2019 13:47:31 GMT 15:37 tag:soundcloud,2010:tracks/620986662 false https://soundcloud.com/sonicacts/tony-cokes-the-next-revolution 67b74fd1b6cab9efc4ad68bd 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERTony Cokes –… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Tony Cokes – the next ‘revolution’? 07.2001 (revised 02.2019) – or progress does not exist – Introduction by Ash Sarkar

23 February – De Brakke Grond, Amsterdam, The Netherlands


In his talk, Tony Cokes will revisit some of his ideas he deployed in a talk presented in July 2001. He will begin with Black Celebration (1988), his first work to examine the legacy of the late 60s and early 70s. That video appropriated newsreel images of urban uprisings in Watts, Boston, Detroit and Newark. Cokes juxtaposed the footage with an ‘industrial’ music soundtrack by Skinny Puppy and visual text quotations, prominently from Situationist International’s The Decline and Fall of the Spectacle-Commodity Economy. The video re-presents these historical events from a distant, but desiring perspective that would counter Reagan-era amnesia or dismissal. Cokes’ presentation will discuss this period in relation to a trajectory within his artistic practice that questions the mythic idea of progress. He will connect three threads: his scepticism with regard to historical constructions, the media’s attempted conversion of ‘revolution’ into a debased marketing trope, and the question of how these representations resonate in our current climate of fear and proto-fascist nationalisms.


Tony Cokes makes video, installation, print, sound and other works that reframe appropriated texts to reflect upon capitalism, subjectivity, knowledge and pleasure. Cokes deploys sound as a crucial, intertextual element, complicating minimal visuals. He has shown works internationally at venues including Centre Georges Pompidou, Museum of Modern Art, Whitney Museum, ZKM, REDCAT and La Cinémathèque Française. Cokes has screened at festivals including the Berlin Biennale X, International Film Festival Rotterdam, Rencontres Internationales Paris/​Berlin/​Madrid and Oberhausen. Cokes is Professor in Modern Culture and Media at Brown University, Providence, RI. His work is represented by Greene Naftali Gallery, New York.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Tony Cokes – the next ‘revolution’? 07.2001 (revised 02.2019) – or progress does not exist – Introduction by Ash Sarkar

23 February – De Brakke Grond, Amsterdam, The Netherlands


In his talk, Tony Cokes will revisit some of his ideas he deployed in a talk presented in July 2001. He will begin with Black Celebration (1988), his first work to examine the legacy of the late 60s and early 70s. That video appropriated newsreel images of urban uprisings in Watts, Boston, Detroit and Newark. Cokes juxtaposed the footage with an ‘industrial’ music soundtrack by Skinny Puppy and visual text quotations, prominently from Situationist International’s The Decline and Fall of the Spectacle-Commodity Economy. The video re-presents these historical events from a distant, but desiring perspective that would counter Reagan-era amnesia or dismissal. Cokes’ presentation will discuss this period in relation to a trajectory within his artistic practice that questions the mythic idea of progress. He will connect three threads: his scepticism with regard to historical constructions, the media’s attempted conversion of ‘revolution’ into a debased marketing trope, and the question of how these representations resonate in our current climate of fear and proto-fascist nationalisms.


Tony Cokes makes video, installation, print, sound and other works that reframe appropriated texts to reflect upon capitalism, subjectivity, knowledge and pleasure. Cokes deploys sound as a crucial, intertextual element, complicating minimal visuals. He has shown works internationally at venues including Centre Georges Pompidou, Museum of Modern Art, Whitney Museum, ZKM, REDCAT and La Cinémathèque Française. Cokes has screened at festivals including the Berlin Biennale X, International Film Festival Rotterdam, Rencontres Internationales Paris/​Berlin/​Madrid and Oberhausen. Cokes is Professor in Modern Culture and Media at Brown University, Providence, RI. His work is represented by Greene Naftali Gallery, New York.

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]]> Sonic Acts 2019: Ramon Amaro – AI as an Act of Thought Sonic Acts 2019: Ramon Amaro – AI as an Act of Thought Wed, 15 May 2019 13:47:31 GMT 37:35 tag:soundcloud,2010:tracks/620986668 false https://soundcloud.com/sonicacts/saf19-ramonamaro-audio 67b74fdfaf08fb18338cbe67 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERRamon Amaro … full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Ramon Amaro – AI as an Act of Thought – Introduction by Juha van 't Zelfde

23 February – De Brakke Grond, Amsterdam, The Netherlands


Artificial intelligence (AI) research has risen exponentially in the last decade. One of the stated goals of AI is a better understanding of the world around us. As such, an increasingly large proportion of human reality is now lived through algorithms. While our relationship with AI is undoubtedly important as a mode of knowledge production, it has far-reaching implications. Most significant is the disparity between the act of existing/existence – particularly as it relates to differential human states of being (race, gender, sexuality, etc.) – and predominant paradigms of epistemological operation. In this talk, Ramon Amaro discusses the domain of AI as an arrangement of axiomatic simplicity that, in its present form, diminishes the variant domains of psychological and physical reality. He argues for a return to the problematics of perception, as illustrated in debates between figuration and Black abstract art, to challenge the notion of an a priori analytics. Ultimately, he proposes a reorientation of the algorithmic as an ontological imperative that establishes the genesis of the human differential as an act of thought in itself.


Ramon Amaro is Lecturer in the Department of Visual Cultures at Goldsmiths, University of London, as well as in the Centre for Research Architecture where he teaches the MA special subject Conflicts & Negotiations and the BA courses Fact of Blackness and Space and Time. Previously, he was a Research Fellow in Digital Culture at Het Nieuwe Instituut in Rotterdam and a visiting tutor in Media Theory at the Royal Academy of Art (KABK), The Hague. Ramon completed his PhD in Philosophy at Goldsmiths, while holding a master’s degree in Sociological Research from the University of Essex and a BSe in Mechanical Engineering from the University of Michigan, Ann Arbor. He has worked as Assistant Editor for the SAGE open access journal Big Data & Society, quality design engineer for General Motors and programmes manager for the American Society of Mechanical Engineers (ASME). His research interests include machine learning, design and engineering, black ontology and philosophies of being.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Ramon Amaro – AI as an Act of Thought – Introduction by Juha van 't Zelfde

23 February – De Brakke Grond, Amsterdam, The Netherlands


Artificial intelligence (AI) research has risen exponentially in the last decade. One of the stated goals of AI is a better understanding of the world around us. As such, an increasingly large proportion of human reality is now lived through algorithms. While our relationship with AI is undoubtedly important as a mode of knowledge production, it has far-reaching implications. Most significant is the disparity between the act of existing/existence – particularly as it relates to differential human states of being (race, gender, sexuality, etc.) – and predominant paradigms of epistemological operation. In this talk, Ramon Amaro discusses the domain of AI as an arrangement of axiomatic simplicity that, in its present form, diminishes the variant domains of psychological and physical reality. He argues for a return to the problematics of perception, as illustrated in debates between figuration and Black abstract art, to challenge the notion of an a priori analytics. Ultimately, he proposes a reorientation of the algorithmic as an ontological imperative that establishes the genesis of the human differential as an act of thought in itself.


Ramon Amaro is Lecturer in the Department of Visual Cultures at Goldsmiths, University of London, as well as in the Centre for Research Architecture where he teaches the MA special subject Conflicts & Negotiations and the BA courses Fact of Blackness and Space and Time. Previously, he was a Research Fellow in Digital Culture at Het Nieuwe Instituut in Rotterdam and a visiting tutor in Media Theory at the Royal Academy of Art (KABK), The Hague. Ramon completed his PhD in Philosophy at Goldsmiths, while holding a master’s degree in Sociological Research from the University of Essex and a BSe in Mechanical Engineering from the University of Michigan, Ann Arbor. He has worked as Assistant Editor for the SAGE open access journal Big Data & Society, quality design engineer for General Motors and programmes manager for the American Society of Mechanical Engineers (ASME). His research interests include machine learning, design and engineering, black ontology and philosophies of being.

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]]> Sonic Acts 2019: Ephraim Asili – Mindfulness Cinema Sonic Acts 2019: Ephraim Asili – Mindfulness Cinema Wed, 15 May 2019 13:47:30 GMT 53:06 tag:soundcloud,2010:tracks/620986650 false https://soundcloud.com/sonicacts/saf19-ephraimasili-audio 67b74fde7fd241a4ed7bf1d6 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTEREphraim Asil… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Ephraim Asili – Mindfulness Cinema – Introduction by Juha van 't Zelfde

23 February – De Brakke Grond, Amsterdam, The Netherlands


Artist and filmmaker Ephraim Asili presents a talk about his cinematic practice to date as well as some ideas that he hopes to resolve in future projects. Themes of his presentation include: jazz methodologies, meditation, African-American literary traditions, Sigmund Freud, Sun Ra and concepts of landscape/locational cinema.


Ephraim Asili is a filmmaker, DJ and traveler whose work focuses on the African diaspora as a cultural force. His films have been screened at festivals and venues all over the world, including the New York Film Festival, Toronto International Film Festival, Ann Arbor Film Festival, San Francisco International Film Festival, International Film Festival Rotterdam, MoMA PS1, Museum of Fine Arts in Boston and the Whitney Museum. As a DJ, Asili can be heard live at his monthly dance party Botanica. He currently resides in Hudson, NY, and is a professor in the Film and Electronic Arts Department at Bard College.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Ephraim Asili – Mindfulness Cinema – Introduction by Juha van 't Zelfde

23 February – De Brakke Grond, Amsterdam, The Netherlands


Artist and filmmaker Ephraim Asili presents a talk about his cinematic practice to date as well as some ideas that he hopes to resolve in future projects. Themes of his presentation include: jazz methodologies, meditation, African-American literary traditions, Sigmund Freud, Sun Ra and concepts of landscape/locational cinema.


Ephraim Asili is a filmmaker, DJ and traveler whose work focuses on the African diaspora as a cultural force. His films have been screened at festivals and venues all over the world, including the New York Film Festival, Toronto International Film Festival, Ann Arbor Film Festival, San Francisco International Film Festival, International Film Festival Rotterdam, MoMA PS1, Museum of Fine Arts in Boston and the Whitney Museum. As a DJ, Asili can be heard live at his monthly dance party Botanica. He currently resides in Hudson, NY, and is a professor in the Film and Electronic Arts Department at Bard College.

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]]> Sonic Acts 2019: The Otolith Group and Annie Fletcher – Eastman is the Matter at Hand Sonic Acts 2019: The Otolith Group and Annie Fletcher – Eastman is the Matter at Hand Wed, 15 May 2019 13:47:29 GMT 44:28 tag:soundcloud,2010:tracks/620986641 false https://soundcloud.com/sonicacts/saf19-theotholithgroup-audio 67b74fdab3ef9b9a01305dd1 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERThe Otolith … full SONIC ACTS FESTIVAL 2019 – HEREAFTER – Introduction by Emily Pethick

The Otolith Group and Annie Fletcher – Eastman is the Matter at Hand24 February – De Brakke Grond, Amsterdam, The Netherlands


From the late 1960s until his death in 1990 at the age of 49, Julius Eastman, the queer African-American avant-garde composer, pianist, vocalist and conductor, wrote and performed compositions whose ecstatic militant minimalism initiated a black radical aesthetic that revolutionised the East Coast’s new music scene of the 1970s and 1980s. No recordings of Eastman’s compositions were released during his lifetime. In January 1980, Julius Eastman was invited by the Music Department at Northwestern University in Evanston, Illinois to present his compositions Crazy Nigger (1978), Evil Nigger (1979) and Gay Guerrilla (1979).


A number of African-American students and one faculty member objected to the titles of Eastman’s compositions. The titles were redacted from the concert programme. Before the concert on 16 January 1980, Eastman delivered a public statement that responded to these objections. The speeches delivered by two speakers in The Otolith Group’s video, The Third Part of the Third Measure (2017) – on display as the installation at the Stedelijk Museum Amsterdam during the festival – are based on each performer’s adapted transcription of Eastman’s Northwestern statement. This talk by The Otolith Group – Anjalika Sagar and Kodwo Eshun – who will be joined by Annie Fletcher, will focus on the importance of this Afrofuturist artist and expand on ideas in making the film.

In May 2019, the Van Abbemuseum, Eindhoven, will present the first large scale solo exhibition of The Otolith Group. The exhibition is curated by Annie Fletcher.


Founded by Anjalika Sagar and Kodwo Eshun, The Otolith Group makes films, installations, and performances that are driven by extensive research into the histories of science fiction and the legacies of transnationalism. Their works and curatorial projects explore the temporal anomalies, anthropic inversions and synthetic alienation of the posthuman, the inhuman, the non-human and the anti-human. In 2010 The Otolith Group were nominated for the Turner Prize.


Annie Fletcher is the chief curator at the Van Abbemuseum. Her projects include the solo exhibition of Qiu Zhijie, the ten-day project in collaboration with DAI called Becoming More in 2017, a collaborative research project led by Vivian Ziherl called Frontier Imaginaries: Trade Markings in 2018 and a large-scale and travelling museum retrospective of the Otolith Group in 2019. She tutors at De Appel, Amsterdam, Dutch Art Institute, Arnhem and Design Academy Eindhoven. She is part of a team that developed the Museum of Arte Útil with Tania Bruguera in 2013 and continues to develop the Association of Arte Útil today. Other projects include solo exhibitions or presentations with Ahmet Ögut, Hito Steyerl, Sheela Gowda, David Maljković, Jo Baer, Jutta Koether, Deimantas Narkevičius, Minerva Cuevas and long-term projects Be(com)ing Dutch (2006 – 09) and Cork Caucus (2005), both with Charles Esche.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER – Introduction by Emily Pethick

The Otolith Group and Annie Fletcher – Eastman is the Matter at Hand24 February – De Brakke Grond, Amsterdam, The Netherlands


From the late 1960s until his death in 1990 at the age of 49, Julius Eastman, the queer African-American avant-garde composer, pianist, vocalist and conductor, wrote and performed compositions whose ecstatic militant minimalism initiated a black radical aesthetic that revolutionised the East Coast’s new music scene of the 1970s and 1980s. No recordings of Eastman’s compositions were released during his lifetime. In January 1980, Julius Eastman was invited by the Music Department at Northwestern University in Evanston, Illinois to present his compositions Crazy Nigger (1978), Evil Nigger (1979) and Gay Guerrilla (1979).


A number of African-American students and one faculty member objected to the titles of Eastman’s compositions. The titles were redacted from the concert programme. Before the concert on 16 January 1980, Eastman delivered a public statement that responded to these objections. The speeches delivered by two speakers in The Otolith Group’s video, The Third Part of the Third Measure (2017) – on display as the installation at the Stedelijk Museum Amsterdam during the festival – are based on each performer’s adapted transcription of Eastman’s Northwestern statement. This talk by The Otolith Group – Anjalika Sagar and Kodwo Eshun – who will be joined by Annie Fletcher, will focus on the importance of this Afrofuturist artist and expand on ideas in making the film.

In May 2019, the Van Abbemuseum, Eindhoven, will present the first large scale solo exhibition of The Otolith Group. The exhibition is curated by Annie Fletcher.


Founded by Anjalika Sagar and Kodwo Eshun, The Otolith Group makes films, installations, and performances that are driven by extensive research into the histories of science fiction and the legacies of transnationalism. Their works and curatorial projects explore the temporal anomalies, anthropic inversions and synthetic alienation of the posthuman, the inhuman, the non-human and the anti-human. In 2010 The Otolith Group were nominated for the Turner Prize.


Annie Fletcher is the chief curator at the Van Abbemuseum. Her projects include the solo exhibition of Qiu Zhijie, the ten-day project in collaboration with DAI called Becoming More in 2017, a collaborative research project led by Vivian Ziherl called Frontier Imaginaries: Trade Markings in 2018 and a large-scale and travelling museum retrospective of the Otolith Group in 2019. She tutors at De Appel, Amsterdam, Dutch Art Institute, Arnhem and Design Academy Eindhoven. She is part of a team that developed the Museum of Arte Útil with Tania Bruguera in 2013 and continues to develop the Association of Arte Útil today. Other projects include solo exhibitions or presentations with Ahmet Ögut, Hito Steyerl, Sheela Gowda, David Maljković, Jo Baer, Jutta Koether, Deimantas Narkevičius, Minerva Cuevas and long-term projects Be(com)ing Dutch (2006 – 09) and Cork Caucus (2005), both with Charles Esche.

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]]> Sonic Acts 2019: Emma Wolukau-Wanambwa – Carrying Yours and Standing Between You Sonic Acts 2019: Emma Wolukau-Wanambwa – Carrying Yours and Standing Between You Wed, 15 May 2019 13:47:28 GMT 32:06 tag:soundcloud,2010:tracks/620986629 false https://soundcloud.com/sonicacts/saf19-emmawolukauwanambwa 67b74fdab6cab9efc4ad6a53 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTEREmma Wolukau… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Emma Wolukau-Wanambwa – Carrying Yours and Standing Between You – Introduction by Emily Pethick

24 February – De Brakke Grond, Amsterdam, The Netherlands


During her talk, Emma Wolukau-Wanambwa will be reflecting on the similarities and differences between the contexts and research processes that led her to produce the 2015 video Promised Lands and Carrying Yours and Standing Between You, a research/installation recently created for the exhibition Women on Aeroplanes at the Showroom Gallery in London. The opportunity to view these works so close together (Promised Lands was shown at both the Berlin Biennale and the London Film Festival last year) and to observe responses to them has given rise to a new set of questions for the artist about her artistic/research practice that have implications for how she wants her work to develop and what her ‘position’ is (or might be).


Emma Wolukau-Wanambwa, born in Glasgow, studied Literature at Cambridge University and Art at the Slade School of Fine Art, University College London. Formerly a participant in the LUX Associate Artist Programme and a researcher at the Jan van Eyck Academie, she is currently a doctoral candidate in Fine Art at the University of Bergen, Norway and Convener of the Africa Cluster of the Another Roadmap School. Recent or upcoming exhibitions include: Actually, the Dead Are Not Dead (Bergen Assembly 2019, Bergen), Women on Aeroplanes (The Showroom Gallery, GB & Museum of Modern Art, Warsaw) and We Don’t Need Another Hero (10th Berlin Biennale of Contemporary Art).

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Emma Wolukau-Wanambwa – Carrying Yours and Standing Between You – Introduction by Emily Pethick

24 February – De Brakke Grond, Amsterdam, The Netherlands


During her talk, Emma Wolukau-Wanambwa will be reflecting on the similarities and differences between the contexts and research processes that led her to produce the 2015 video Promised Lands and Carrying Yours and Standing Between You, a research/installation recently created for the exhibition Women on Aeroplanes at the Showroom Gallery in London. The opportunity to view these works so close together (Promised Lands was shown at both the Berlin Biennale and the London Film Festival last year) and to observe responses to them has given rise to a new set of questions for the artist about her artistic/research practice that have implications for how she wants her work to develop and what her ‘position’ is (or might be).


Emma Wolukau-Wanambwa, born in Glasgow, studied Literature at Cambridge University and Art at the Slade School of Fine Art, University College London. Formerly a participant in the LUX Associate Artist Programme and a researcher at the Jan van Eyck Academie, she is currently a doctoral candidate in Fine Art at the University of Bergen, Norway and Convener of the Africa Cluster of the Another Roadmap School. Recent or upcoming exhibitions include: Actually, the Dead Are Not Dead (Bergen Assembly 2019, Bergen), Women on Aeroplanes (The Showroom Gallery, GB & Museum of Modern Art, Warsaw) and We Don’t Need Another Hero (10th Berlin Biennale of Contemporary Art).

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]]> Sonic Acts 2019: Elizabeth A. Povinelli – After the End, Stubborn Affects and Collective Practices Sonic Acts 2019: Elizabeth A. Povinelli – After the End, Stubborn Affects and Collective Practices Wed, 15 May 2019 13:47:27 GMT 37:14 tag:soundcloud,2010:tracks/620986623 false https://soundcloud.com/sonicacts/saf19-elizabethapovinelli 67b74fdab3ef9b9a01305dd7 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERElizabeth A.… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Elizabeth A. Povinelli – After the End, Stubborn Affects and Collective Practices – Introduction by Mirna Belina

24 February – De Brakke Grond, Amsterdam, The Netherlands


As many in the West look forward to a climate-induced end of times, huge areas of the human and nonhuman world have been struggling to exist in the toxic excrement of late liberal capitalism. For them, the end of the world has already happened – and it has happened multiple times: the catastrophe of colonialism and imperialism, neoliberalism and extractive capitalism, toxicity and disrepair. This talk asks what affective and collective practices look like if viewed from within worlds that have long existed after the end, using the Karrabing Film Collective as a special case.


Elizabeth A. Povinelli is an anthropologist and filmmaker. She is Franz Boas Professor of Anthropology at Columbia University, New York, Corresponding Fellow of the Australian Academy of Humanities and a founding member of the Karrabing Film Collective. She is the author of five books, including the most recent, Geontologies: A Requiem to Late Liberalism (2016), winner of the Lionel Trilling Book Award. Karrabing films and installations have shown at the Tate Modern, Berlinale Forum Expanded, Melbourne International Film Festival, Contour Biennale, Sydney Biennale, Van Abbemuseum, Institute for Modern Art in Brisbane, Vargas Museum and other venues. Povinelli lives and works in New York City and Darwin, Australia.


The visit of Elizabeth Povinelli was made possible by Het Nieuwe Instituut with support of the Ministry of Foreign Affairs.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Elizabeth A. Povinelli – After the End, Stubborn Affects and Collective Practices – Introduction by Mirna Belina

24 February – De Brakke Grond, Amsterdam, The Netherlands


As many in the West look forward to a climate-induced end of times, huge areas of the human and nonhuman world have been struggling to exist in the toxic excrement of late liberal capitalism. For them, the end of the world has already happened – and it has happened multiple times: the catastrophe of colonialism and imperialism, neoliberalism and extractive capitalism, toxicity and disrepair. This talk asks what affective and collective practices look like if viewed from within worlds that have long existed after the end, using the Karrabing Film Collective as a special case.


Elizabeth A. Povinelli is an anthropologist and filmmaker. She is Franz Boas Professor of Anthropology at Columbia University, New York, Corresponding Fellow of the Australian Academy of Humanities and a founding member of the Karrabing Film Collective. She is the author of five books, including the most recent, Geontologies: A Requiem to Late Liberalism (2016), winner of the Lionel Trilling Book Award. Karrabing films and installations have shown at the Tate Modern, Berlinale Forum Expanded, Melbourne International Film Festival, Contour Biennale, Sydney Biennale, Van Abbemuseum, Institute for Modern Art in Brisbane, Vargas Museum and other venues. Povinelli lives and works in New York City and Darwin, Australia.


The visit of Elizabeth Povinelli was made possible by Het Nieuwe Instituut with support of the Ministry of Foreign Affairs.

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]]> Sonic Acts 2019: Louis Henderson – Dialect of hurricanes. Patois of rains. Language of storms. Un... Sonic Acts 2019: Louis Henderson – Dialect of hurricanes. Patois of rains. Language of storms. Un... Wed, 15 May 2019 13:47:26 GMT 29:00 tag:soundcloud,2010:tracks/620986611 false https://soundcloud.com/sonicacts/louis-henderson-dialect-of 67b74fd4b6cab9efc4ad696a 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERLouis Hender… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Louis Henderson – Dialect of hurricanes. Patois of rains. Language of storms. Unfolding of life in a spiral. – Introduction by Mirna Belina

24 February – De Brakke Grond, Amsterdam, The Netherlands


Unfurling like a fiddlehead fern fond in a forest, the word ‘creole’ comes from the Greek root *ḱer- meaning to grow, to nourish. Celebrating the vast possibilities of translating both into and from Haitian Creole, this talk will describe how the artist group The Living and the Dead Ensemble unravelled into being by translating the play Monsieur Toussaint by Édouard Glissant, from French to Haitian Creole.

The group put Glissant’s work into motion as a means to critique and test the limits of his philosophy within a contemporary Haitian context. The Haitian poet Frankétienne offers a way out through the spiralling voice of the We.


Louis Henderson is a filmmaker who is trying to find new ways of working with people to address and question our current global condition defined by racial capitalism and ever-present histories of the European colonial project. Interested in exploring the sonic space of images, his work aims to develop an archaeological method in cinema, listening to the echoes and spirals of the stratigraphic. Since 2017, Henderson has been working within the artist group The Living and the Dead Ensemble. Based between Haiti and France, they focus on theatre, song, slam, poetry and cinema. Henderson has shown his work at various film festivals, exhibitions and biennials worldwide. His work is in the public collection of the Centre National des Arts Plastiques, France, and is distributed by LUX and Video Data Bank.

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Louis Henderson – Dialect of hurricanes. Patois of rains. Language of storms. Unfolding of life in a spiral. – Introduction by Mirna Belina

24 February – De Brakke Grond, Amsterdam, The Netherlands


Unfurling like a fiddlehead fern fond in a forest, the word ‘creole’ comes from the Greek root *ḱer- meaning to grow, to nourish. Celebrating the vast possibilities of translating both into and from Haitian Creole, this talk will describe how the artist group The Living and the Dead Ensemble unravelled into being by translating the play Monsieur Toussaint by Édouard Glissant, from French to Haitian Creole.

The group put Glissant’s work into motion as a means to critique and test the limits of his philosophy within a contemporary Haitian context. The Haitian poet Frankétienne offers a way out through the spiralling voice of the We.


Louis Henderson is a filmmaker who is trying to find new ways of working with people to address and question our current global condition defined by racial capitalism and ever-present histories of the European colonial project. Interested in exploring the sonic space of images, his work aims to develop an archaeological method in cinema, listening to the echoes and spirals of the stratigraphic. Since 2017, Henderson has been working within the artist group The Living and the Dead Ensemble. Based between Haiti and France, they focus on theatre, song, slam, poetry and cinema. Henderson has shown his work at various film festivals, exhibitions and biennials worldwide. His work is in the public collection of the Centre National des Arts Plastiques, France, and is distributed by LUX and Video Data Bank.

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]]> Sonic Acts 2019: Stoffel Debuysere – Fictions of the Real Sonic Acts 2019: Stoffel Debuysere – Fictions of the Real Wed, 15 May 2019 13:43:38 GMT 35:21 tag:soundcloud,2010:tracks/620985309 false https://soundcloud.com/sonicacts/saf19-stoffeldebuysere-audio 67b74fdaaf08fb18338cbd8f 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERStoffel Debu… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Stoffel Debuysere – Fictions of the Real – Introduction by Mirna Belina

24 February – De Brakke Grond, Amsterdam, The Netherlands

With an introduction by Mirna Belina.


What has happened to the cinematic fictions that set out to make sense of our times? That is to say: what has happened to fiction as the construction of both an arrangement of events and a relation of a referential world to alternative worlds? In accordance with the laws of verisimilitude and rationality that aim to make situations identifiable and intelligible, which also means acceptable and credible, fiction in cinema is commonly made up of calculated entanglements of recognition effects and effects of surprise that attest to the real, so that fiction is, in turn, attested by the real. How to break out of this circle of mutual attestation, which tends to get stuck in endless oscillations between the conforming familiar and the familiar nonconforming? Perhaps it is this sense of consensual sterility that has enkindled the recent intensification of fictions that no longer treat the real as something to attest to, but as something to attend to. No longer as an effect to be produced, but as a world of unnamed emotions and boundless virtualities to explore and prolong. Against the logic that is grounded in the ‘real of fiction’, where the unexpected is always already accounted for, these fictions look for the unexpected where it is not supposed to be, thereby calling into question the way in which things are commonly expected. We could call them ‘fictions of the real’.


Stoffel Debuysere is a Brussels-based researcher and curator of cinema and audiovisual arts. He has organised numerous film programmes in collaboration with a variety of organisations and institutions. He is a head programmer for the Courtisane collective and a lecturer in Critical Film Studies at the KASK School of Art, Ghent, where he recently obtained a PhD with the project Figures of Dissent (Cinema of Politics, Politics of Cinema).

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Stoffel Debuysere – Fictions of the Real – Introduction by Mirna Belina

24 February – De Brakke Grond, Amsterdam, The Netherlands

With an introduction by Mirna Belina.


What has happened to the cinematic fictions that set out to make sense of our times? That is to say: what has happened to fiction as the construction of both an arrangement of events and a relation of a referential world to alternative worlds? In accordance with the laws of verisimilitude and rationality that aim to make situations identifiable and intelligible, which also means acceptable and credible, fiction in cinema is commonly made up of calculated entanglements of recognition effects and effects of surprise that attest to the real, so that fiction is, in turn, attested by the real. How to break out of this circle of mutual attestation, which tends to get stuck in endless oscillations between the conforming familiar and the familiar nonconforming? Perhaps it is this sense of consensual sterility that has enkindled the recent intensification of fictions that no longer treat the real as something to attest to, but as something to attend to. No longer as an effect to be produced, but as a world of unnamed emotions and boundless virtualities to explore and prolong. Against the logic that is grounded in the ‘real of fiction’, where the unexpected is always already accounted for, these fictions look for the unexpected where it is not supposed to be, thereby calling into question the way in which things are commonly expected. We could call them ‘fictions of the real’.


Stoffel Debuysere is a Brussels-based researcher and curator of cinema and audiovisual arts. He has organised numerous film programmes in collaboration with a variety of organisations and institutions. He is a head programmer for the Courtisane collective and a lecturer in Critical Film Studies at the KASK School of Art, Ghent, where he recently obtained a PhD with the project Figures of Dissent (Cinema of Politics, Politics of Cinema).

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]]> <![CDATA[Sonic Acts 2019: Filipa César, Jin Mustafa – Meteorisations: Reading Amílcar Cabral's Agro-Poetic...]]> Wed, 15 May 2019 13:43:37 GMT 1:02:51 tag:soundcloud,2010:tracks/620985300 false https://soundcloud.com/sonicacts/filipa-c-sar-jin-mustafa 67b74fe2b3ef9b9a01306bf8 67b74fb8b3ef9b9a013058ac SONIC ACTS FESTIVAL 2019 – HEREAFTERFilipa César… full SONIC ACTS FESTIVAL 2019 – HEREAFTER

Filipa César, Jin Mustafa – Meteorisations: Reading Amílcar Cabral's Agro-Poetics of Liberation – Introduction by Mirna Belina

24 February – De Brakke Grond, Amsterdam, The Netherlands


A reading of Amílcar Cabral’s agronomic writings exposes substrata of a syntax for liberation later performed in guerrilla language and the struggle against Portuguese colonialism in Guinea-Bissau and Cape Verde. This visual and sonic reading explores the definitions of soil and erosion that Cabral developed as an agronomist, as well as his reports on colonial land exploitation and analysis of the trade economy, to unearth his double agency as a state soil scientist and as a ‘seeder’ of African liberation. Cabral understood agronomy not merely as a discipline combining geology, soil science, agriculture, biology and economics but as a means to gain materialist and situated knowledge about peoples’ lived conditions under colonialism. The scientific data he generated during his work as an agronomist, along with his poetry, were critical to his theoretical arguments in which he denounced the injustices perpetrated on colonised land, and it later informed his warfare strategies.


Cabral used his role as an agronomist for the Portuguese colonial government subversively to further anti-colonial struggle. Cabral’s process of decolonisation was understood as a project of soil reclamation and national reconstruction in the postcolony. His agency as an agronaut ventures through soil cosmologies, mesologies, meteorisations, ‘atmos-lithos’ conflict zones, celluloid compost, violence of imperial consumption — the sugar question. Humble derives from Humus.


Performative lecture by Filipa César with sound by Jin Mustafa and images from Sana na N’Hada and Flora Gomes, 1974, Cape Verde.


This iteration of the lecture has been commissioned by Sonic Acts as a part of Re-Imagine Europe, co-funded by the Creative Europe programme of the European Union.

Filipa César is an artist and filmmaker interested in the porous boundaries between the moving image and its reception, the fictional dimensions of the documentary and the economies, politics and poetics inherent to cinema praxis. Characterised by rigorous structural and lyrical elements, her multiform meditations often focus on Portuguese colonialism and the liberation of Guinea-Bissau in the 1960s and 1970s. This research developed into the collective project Luta ca caba inda (The Struggle Is Not Yet Over). She gained an MA Art in Context at the University of Arts, Berlin. Selected exhibitions and screenings include at the São Paulo Biennial, Manifesta 8, Cartagena, and the Contour 8 Biennial in Mechelen, Belgium, and Gasworks, London. Festival screenings include the Kurzfilmtage Oberhausen, Curtas Vila do Conde, Forum Expanded at the Berlinale and the International Film Festival Rotterdam.


Jin Mustafa is a Stockholm-based visual artist, DJ and electronic music producer. Her work shifts between media, often taking the form of moving images, objects, sound and music. She is interested in the relationship between technology, imaginary spaces and questions of personal and collective memory. Recent exhibitions include I’m fine, on my way home now at Mossutställningar, Stockholm (2017); Ripple at Alta Art Space in collaboration with Signal, Malmö; If she wanted I would have been there once, twice or again at Zeller Van Almsick Gallery, Vienna; and a collaborative work with Natália Rebelo for Chart Emerging at Kunsthal Charlottenborg, Copenhagen (2018).

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]]> SONIC ACTS FESTIVAL 2019 – HEREAFTER

Filipa César, Jin Mustafa – Meteorisations: Reading Amílcar Cabral's Agro-Poetics of Liberation – Introduction by Mirna Belina

24 February – De Brakke Grond, Amsterdam, The Netherlands


A reading of Amílcar Cabral’s agronomic writings exposes substrata of a syntax for liberation later performed in guerrilla language and the struggle against Portuguese colonialism in Guinea-Bissau and Cape Verde. This visual and sonic reading explores the definitions of soil and erosion that Cabral developed as an agronomist, as well as his reports on colonial land exploitation and analysis of the trade economy, to unearth his double agency as a state soil scientist and as a ‘seeder’ of African liberation. Cabral understood agronomy not merely as a discipline combining geology, soil science, agriculture, biology and economics but as a means to gain materialist and situated knowledge about peoples’ lived conditions under colonialism. The scientific data he generated during his work as an agronomist, along with his poetry, were critical to his theoretical arguments in which he denounced the injustices perpetrated on colonised land, and it later informed his warfare strategies.


Cabral used his role as an agronomist for the Portuguese colonial government subversively to further anti-colonial struggle. Cabral’s process of decolonisation was understood as a project of soil reclamation and national reconstruction in the postcolony. His agency as an agronaut ventures through soil cosmologies, mesologies, meteorisations, ‘atmos-lithos’ conflict zones, celluloid compost, violence of imperial consumption — the sugar question. Humble derives from Humus.


Performative lecture by Filipa César with sound by Jin Mustafa and images from Sana na N’Hada and Flora Gomes, 1974, Cape Verde.


This iteration of the lecture has been commissioned by Sonic Acts as a part of Re-Imagine Europe, co-funded by the Creative Europe programme of the European Union.

Filipa César is an artist and filmmaker interested in the porous boundaries between the moving image and its reception, the fictional dimensions of the documentary and the economies, politics and poetics inherent to cinema praxis. Characterised by rigorous structural and lyrical elements, her multiform meditations often focus on Portuguese colonialism and the liberation of Guinea-Bissau in the 1960s and 1970s. This research developed into the collective project Luta ca caba inda (The Struggle Is Not Yet Over). She gained an MA Art in Context at the University of Arts, Berlin. Selected exhibitions and screenings include at the São Paulo Biennial, Manifesta 8, Cartagena, and the Contour 8 Biennial in Mechelen, Belgium, and Gasworks, London. Festival screenings include the Kurzfilmtage Oberhausen, Curtas Vila do Conde, Forum Expanded at the Berlinale and the International Film Festival Rotterdam.


Jin Mustafa is a Stockholm-based visual artist, DJ and electronic music producer. Her work shifts between media, often taking the form of moving images, objects, sound and music. She is interested in the relationship between technology, imaginary spaces and questions of personal and collective memory. Recent exhibitions include I’m fine, on my way home now at Mossutställningar, Stockholm (2017); Ripple at Alta Art Space in collaboration with Signal, Malmö; If she wanted I would have been there once, twice or again at Zeller Van Almsick Gallery, Vienna; and a collaborative work with Natália Rebelo for Chart Emerging at Kunsthal Charlottenborg, Copenhagen (2018).

Hosted on Acast. See acast.com/privacy for more information.

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