NFF Essay Collection 2021 Emilie Friedlander Underdog Music Imprint Contents norient.com/emilie-friedlander/under- dog-music See Website for short abstracts on the essay #Music Business articles: https://norient.com/nothing-sounds André Santos Lisbon Before and After Listen to the Snaps: norient.com/andre-santos/lisbon-and-after soundcloud.com/norient/sets/snaps-nori- #Capitalism #Place #Tradition #City ent-film-festival #Tourism
Lisa Blanning 1 Why Locality Still Matters: Gender Baltimore Club norient.com/lisa-blanning/why-locali- Nothing Sounds the Way It Looks Luisa Fernanda Uribe ty-still-matters-baltimore-club Publisher Norient Books Intersectionality Rules #Dance #Place norient.com/luisa-fernanda-uribe/intersec- 3 Editors Philipp Rhensius and Lisa Blanning tionality-rules Copy Editor Angus Finlayson #Gender Roles Sound Cover art and visual snaps Šejma Fere Audio snaps DJ Raph Agata Pyzik Alaka Sahani Layout gut&schön, Annegreth Schärli Ritual Of Masculinity Is the Pandemic a Heyday for Online Access norient.com/nothing-sounds norient.com/agata-pyzik/ritual-masculinity Unsung Heroes #Gender Roles #Ritual norient.com/alaka-sahani/pandemic-hey- NFF Essay Collection 2021 day-unsung-heroes Adam Harper #Sound #Mainstream NB004 Being Untrue to Yourself © 2021 Norient Books norient.com/adam-harper/being-unt- Dan Barrow Bern, Switzerland rue-yourself Cinesonic Holism #Parody #Queer norient.com/dan-barrow/cinesonic-holism #Sound ISSN 2 Gisela Swaragita This publication is part of the Capitalism The Poetry of Noises 10th Norient Film Festival 2021 norient.com/gisela-swaragita/poetry-noises Noëmie Vermoesen #Sound #Community #City #Belonging An Ode to Imagination norient.com/noemie-vermoesen/ode-ima- Joseph Kamaru gination Hearing Is Believing With friendly support by #Capitalism #Creativity norient.com/joseph-kamaru/hearing-be- lieving Suhail Yusuf Khan #Sound #Perception #City Blood Is Thinner Than Money norient.com/suhail-yusuf-khan/blood-thin- Rayya Badran ner-money The Sound of Beirut’s Underbelly #Capitalism #Music Business norient.com/rayya-badran/sound-bei- ruts-underbelly #Sound #Perception #City
2 3 Simon Broughton 4 Fighting Back With Music 8 norient.com/simon-broughton/figh- Colonialism ting-back-music Belonging #Protest #War Chandra Frank Angus Finlayson The Racialized Gaze RRRKRTA More Sad Hits on Landscapes Static Resistance norient.com/angus-finlayson/more-sad- norient.com/chandra-frank/racialized-ga- norient.com/rrrkrta/static-resistance hits ze-landscapes #Protest #Desire #Depression #Colonialism #Othering #Race #Belonging 7 Clive Bell Grace Takyi Finding Refuge in Rebetiko Nobody Dey Get Us Perception norient.com/clive-bell/finding-refuge-re- norient.com/grace-takyi/nobody-dey-get- betiko us Daniela Seitz #Migration #Religion Underneath It All norient.com/daniela-seitz/underneath-it-all Keith Kahn-Harris Patricia Jäggi #Counter-Culture #Belonging Tongues and Borders Are The Ghosts Of Colonialism Immutable norient.com/patricia-jaggi/ghosts-coloni- Florence Jimenez Otto norient.com/keith-kahn-harris/ton- alism Let The Genius Go gues-and-borders-are-immutable #Colonialism #Spirituality #Voice norient.com/florence-jimenez-otto/let-ge- #Belonging #Communication nius-go #Perception #Creativity #Depression Aysel Özdilek 5 Waiting Room of Possibilities Spirituality Philipp Rhensius norient.com/aysel-ozdilek/wai- «Real World» Problems ting-room-possibilities Kamwangi Njue norient.com/philipp-rhensius/real-wor- #Belonging #Utopia No Life for the «Living-Dead» ld-problems norient.com/kamwangi-njue/no-life-living- #Perception #Communication dead #Spirituality #Dance #Ritual #Colonialism Lola Baraldi How You See Is What You Get Azin Feizabadi norient.com/lola-baraldi/how-you-see- Ebram the Breeze what-you-get norient.com/index.php/azin-feizabadi/ #Experiment ebram-breeze #Spirituality #Encounter Steph Kretowicz A Spirit Guides You norient.com/steph-kretowicz/spirit-gui- 6 des-you Protest #Creativity
Martin Stokes A Yearning For Coherence norient.com/martin-stokes/yearning-co- herence #Protest #Voice
4 5 Gender is not naturally given but produced 1 Editorial by social and cultural forces. It refers to a so- cial role based on the sex of a person, a mode Gender of power that has been criticized especially by those whose culturally assigned sex and gender do not align, and Philipp Rhensius who are looking for terms and definitions that include, rather than exclude, their individual ways of being. According to the theorist Eve Nothing Sounds Kosofsky Sedgwick, «sexuality extends along so many dimensions the Way It Looks that aren’t well described in terms of the gender of object-choice at all» (Sedgwick 1990, 35). Films can illustrate what it feels like to live in this world. Yet they do In her essay «Intersectionality Rules», the writer and activist Lu- not only represent worlds, but also create them – and by that, the isa Fernanda Uribe addresses the lack of intersectional thinking in subjectivities of the audience. For this new Norient publication, ed- the feminist narratives of South American music scenes. Instead of itors Lisa Blanning and Philipp Rhensius commissioned 34 writers talking «exclusively about representation or identity», she suggests from 15 countries to share their thoughts on today’s world through that «we need to build more radical and collective spaces answering sound and music. While the 35 essays offer different perspectives questions about our privileges as agents of the music industry, even (personal, academic, autofiction) on different topics (Gender Roles, if we are women from the Global South.» Sound, Colonialism) they are all connected by one thing: an intense Some men from the Global North are at the center of critique in sensory effect, like a «punctum» (Barthes 1981), triggered by one writer Agata Pyzik’s essay. The female musicians in Uribe’s text at- of the 35 films under discussion. Thus, the texts are not so much tempt to break free from their gender roles; in Anna Gawlita’s film about as inspired by the films, unraveling narratives about worries, Krzyżoki, about a traditional Easter ritual in a Polish village, Pyzik dreams, and hopes in the 21st century that sometimes seem intensi- finds a desire for «id-pol based on nostalgia for the golden days». fied by the current COVID-19 pandemic. While, for her, there are good reasons why «masculinity is being By juxtaposing very different text styles and diverse perspectives, challenged by contemporary culture», she also understands how this publication seeks to be a collage, resisting the urge to universal- these men try to regain a sense of manhood. ize difference or create false coherence. Like some of the protago- Blurring the limits of gender and questioning a supposedly au- nists in the films – such as the Soundcloud rappers inCrestone , who thentic way of being is an important part of queer thinking. In his es- experiment with new ways of collective living – the texts create pos- say inspired by the feature film The Mystery of the Pink Flamingo, the itive disorientation to arrive at new, unexpected places of thought. musicologist Adam Harper reflects on how «the queer discovery of At best, this publication connects the unrelated – and separates the authenticity of the inauthentic (and vice versa) has had an incal- the supposedly consistent. For this editorial, the texts are loosely di- culable effect on the aesthetics and semiotics of the contemporary vided into eight blocks, drawing from the Norient Topics1: Gender, world». Capitalism, Sound, Colonialism, Spirituality, Protest, Perception, Belonging. In the following, I will briefly outline the essays relating to Categorizing has always been a modus ope- 2 each topic, in the above order. randi of capitalism, a system that tends to subordinate material and immaterial things Capitalism to profit. In the field of cultural labor, the ef- 1 Norient tells new stories about the world through music, sound, and noise from multiple perspec- tives and positions. To navigate through the vast range of issues in our essays, podcasts and films, fects of this ideology often lead to precarity. In her essay «An Ode to these stories are structured by the Norient Topics, attempting to create collages rather than organic wholes. These Topics are not fixed entities, but change and mutate constantly according to the Imagination», the writer and musician Noëmie Vermoesen describes stories told.
6 7 how creativity is increasingly threatened by the stress and precari- valuable source of knowledge – as indicated by many scholars in the ousness which is currently intensified by the forces of the pandemic. field of Sound Studies (e.g. Hirschkind 2012, 63).2 Inspired by the protagonist of the filmLes Contes Du Cockatoo, who This might also be why the sonic layer of films often goes unno- refuses to accept the constant pressure to be productive, she calls ticed, as the journalist Alaka Sahani points out in her essay «Is the for a world in which imagination is freed from measurable expecta- Pandemic a Heyday for Unsung Heroes?». Here, she claims that tions. films are very often celebrated for their protagonists, and less for the The musician and ethnomusicologist Suhail Yusuf Khan is any- people who are responsible for the actual audiovisual experience. thing but unproductive. As a celebrated Sarangi player, he is never- In her text on the documentary The Sound Man Mangesh Desai, she theless forced to self-market constantly. In his text «Blood Is Thinner asks if the COVID-19 pandemic could be an opportunity to rethink Than Money» he claims, without glorifying the past, that this need to the inequalities of star-centrism. find ways of generating income, hasn’t always been the case. The When it comes to countering existing hierarchies of perception, genre in which he operates, North Indian Classical Music, was once noise has often been the first music genre of choice. In her essay predominantly consumed and financed by the upper class. «The Poetry of Noises», the journalist Gisela Swaragita describes The seminal New York record store Other Music was once a how, after having been exposed to harsh sounds in the Indonesian somewhat egalitarian place, if not a haven for underdogs. In her noise music scene, she could transform her disgust of the traffic essay, the writer Emilie Friedlander, who used to frequently buy re- noises penetrating her flat in Jakarta into an aesthetic listening ex- cords there, mourns its recent closing as «another casualty of the perience – culminating in her «enjoying the humming of my family’s internet». 29-year-old refrigerator». While the war against algorithms in the music world could be Be it machinic or naturalistic, sound in film affects viewers below called gentrification of the digital, André Santos sees the decay of the level of consciousness. It is a power that «Hollywood converts the legendary Portuguese music style Fado in Lisbon as a result of into box-office cash», as the writer Dan Barrow depicts it in his essay physical gentrification. In his reflection on these transformational about Midge Costin’s filmMaking Waves: The Art of Cinematic Sound. moments in his hometown, he is left with a mix of sadness and nos- Instead, he argues for a more open approach to film sound-making: talgia, but also hope. a model that entails sonic freedom. A more positive affirmation of place often lies at the heart of For the sound artist Joseph Kamaru, sound is a similarly power- club music scenes, although capitalism’s tendency to universalize ful tool. He explains in his text «Hearing Is Believing» how, through has paved the way for a widespread commodification of techno and his work with field recordings, he gained a greater awareness of an house by white Europeans. In her reflection on Tedra Wilson’s doc- environment that is «shared with other living beings». One such in- umentary, Dark City Beneath the Beat, writer (and co-editor of this sight: «that trees are naturally conductive and can become anten- volume) Lisa Blanning shows how Baltimore Club kept its highly lo- nas, capturing radio signals.» calized aesthetics, demonstrating the richness of Black club music The unheard and overlooked plays a central role in Rayya Badran’s in the 21st century. critical analysis of the filmPanoptic , in which director Rana Eid nar- rates her memories of her fatherta former general in the Lebanese Sound is always there even if not recognized. army. In this essay, the writer unpicks how Reid’s use of sound often 3 It can expose the world that lies beneath its contrasts with the images such as the basement of the Beau Rivage Sound visibility. However, in a world in which what Hotel, which was a former torture prison for the Syrian secret service. one sees often seems to be more important than what one hears, it is no surprise that sound still plays a margin- alized role in Western society, while sight is privileged as the most 2 While Sound Studies researches sound as a multilayered field of epistemology and knowledge, it nevertheless acknowledges the inter-sensory nature of human experience.
8 9 According to Badran, the audience is invited to learn about the of- In the context of this colonial heritage, the 5 ten hidden dark side of Lebanon’s history through listening: a kind of case of the Utapishi ritual in Kenya seems to perception that might make one more attuned to the socio-political show the other side of the coin. According to Spirituality reality prior to the nationwide protests on October 17, 2019. the Kenyan artist Kamwangi Njue, the ban of the ritual as a non-religious act of spirituality3 goes back to the British The philosopher Sylvia Wynter analyses colonial authorities’ introduction of the «Witchcraft Act» in 1925. 4 the multiple facets of colonialism’s legacy Cynically, in the ongoing process of the marginalization of this ritu- Colonialism through a central narrative. According to her, al – a kind of mental purification by a specially trained healer, em- any struggle concerning race, class, gender bodied by Jackson Matiere in the speculative short filmTapi! – the or sexual orientation is a facet of the central «ethnoclass Man vs. Hu- role of money creeps in again. After a court hearing with the county man struggle» (Wynter 2003, 260). pastor, Matiere is no longer allowed to officially practice his ritu- An often overlooked aspect in ongoing debates about decolo- al – but is still allowed to do the associated dance, as it benefits nization is its representation through notions of landscape. In her tourism. essay «The Racialized Gaze on Landscapes», the writer and re- Similarly, invisible forces are floating around in the experimental searcher Chandra Frank reflects upon the hailing of the countryside essay by writer and director Azin Feizabadi, who assesses the myth as an idyllic place. As «the countryside has long played an important and legacy of one of Iran’s most beloved singer/songwriters, Ebra- part in the construction of belonging and nationhood», it has, in the him Monsefi. Monsefi, Feizabadi writes, «cannot be described in one UK, become «synonymous with white national English identity» that sentence, one film, or one book. He might breeze into you or not. If seems to be haunted by colonialism. Frank calls for a reexamination he does, you’ll feel it – you’ll understand his pain and sorrow, humor, of colonial histories, as with the current efforts to remove colonial lovesickness, or strangeness.» statues in South Africa, the UK and the USA. Universalism, as an idea related to colonialism, often sought to Sorrow and pain have always been important 6 subsume the diversity of being and living under a single, western drivers for protest, be it politically explicit or perspective, often called reason. In her essay inspired by the film implicit in the personal or private realm. The Protest Contradict, the scholar Grace Takyi explains that everyday life in latter form is expressed by the musicians in Ghana is widely ruled by the Christian religion. For her, the artists the film Her Bijî Granî. As players of the energetic Kurdish wedding portrayed in the film revolt against this religion’s tendency to domi- music style Granî, they could be seen as part of protest culture. In nate people’s histories – by writing their own. his essay, the scholar Martin Stokes dissects the significant political Effective acts of decolonization, however, need to be sensitive, meanings in songs about love that are usually seen as apolitical. especially with questions of representation. In her essay on Felix Very explicit, by contrast, is the effort of musicians facing the Blume’s Curupira, Creature of the Woods, the scholar Patricia Jäggi aftermath of the Islamist invasion of Northern Mali in 2012, during raises questions about the film’s portrayal of Native Amazon com- which music was widely banned. In his text about the filmIt Must munities. She asks: «Is Blume really able to break with the ‹colonial Make Peace, journalist Simon Broughton describes their musical gaze› that defines the white person as an observer and the natives practice as a search for peace and freedom. as observed – by having them look back?» While these musicians are fighting for freedom in the literal sense, Alex Freiheit’s struggle is more subtle, embodied in gestures
3 The term spirituality is defined as «the quality that involves deep feelings and beliefs of a religious nature, rather than the physical parts of life» (Cambridge Dictionary). Yet, spirituality can also be non-religious. According to Courtney Bender and Ann Taves, it «can be marshaled by atheists and secularists to mark their own pursuits and goals» (Bender and Taves 2012, 6).
10 11 that are exemplified in RRRKRTA’s essay «Static Resistance». In a world that is prefabricated and based on representation, against the film SIKSA: Stabat Mater Dolorosa, Freiheit, frontwoman of the one that is in a constant state of becoming.» Polish band SIKSA, addresses political categories such as family, Similarly fragmented is the structure of the filmDazzle Lights. church, and state through childhood memories of socially accepted According to the writer Lola Baraldi, the viewer is confronted here violence, in a way that is not confrontational, but intimate. with a radical blurring of images and thoughts. As the experimen- tal shamanic cumbia band Los Síquicos Litoraleños calls «for alter- To think, to listen, to see, to be in the world is native ways to illustrate their antics, the documentary finds ways to 7 always a matter of the body. One cannot sep- adapt and innovate by blurring the separation between form and Perception arate oneself from one’s perception of the content, allowing a more authentic world-building that reflects sur- world. According to the philosopher Maurice realism, fascination, and confusion.» Merleau-Ponty, «we must not, therefore, wonder whether we real- Camille Degeye’s Journey Through a Body likewise seems to mir- ly perceive a world, we must instead say: the world is what we per- ror the creative methods of the musician it portrays. The film’s con- ceive» (Merleau-Ponty 1958, 18). Perceiving another body through close trasting of the romantic with the banal leads writer and artist Steph proximity, intimacy, is a mode of being that has undergone a radical Kretowicz to ask in which ways the protagonist’s daily routines are change since the COVID-19 pandemic and social distancing. Since harnessed by the messiness of his «creation and the diverse tech- then, it seems, intimacy has been happening mostly online, trans- nological ecology it draws from.» forming its conditions from those of trust into those of isolation. In her reflection on the docu-fictionCrestone , in which a group of People are not just attached to their family 8 Soundcloud rappers oscillate between their isolated online selves or the nations they live or were born in, but Belonging and the search for new meaning in life, the curator Daniela Seitz pro- to things, feelings, sounds, and like-minded claims the need to «look beyond the apparent narcissism of online people across the globe. Yet the pandemic culture, and the blurred line between the virtual and real.» She re- has laid bare how capitalist hyper-individualism has led to a crisis of minds us that «it is more important than ever to unlearn established collectivity, and therefore of a sense of belonging. modes of online behavior, and reflect on how the internet echoes Ferry Heijne, frontman of Dutch band De Kift, attempts to over- existing systems of oppression.» come this crisis by writing new songs. According to the writer Angus The idea of showing weakness as a strategy to counter the fric- Finlayson (who also copy-edited this collection), «he seeks out mo- tionless online self resonates with Florence Jimenez Otto’s critical ments of human connection; confronted with individualized suffer- reflection on perfectionism. According to Otto, a creative coach who ing, he offers comforting universals.» has worked in the music industry for years, perfectionism can be a Less universal and more particular is the search for belonging in real threat to mental and physical health. To overcome the faulty log- the film Don’t Rush, a portrayal of two young men with a passion for ic of self-judgment, she calls for a different perception of the self: Rebetiko, the Greek urban folk music made by refugees. Musing on a personality that is soft and permeable, «and less narrow-minded what is now viewed as a rich cultural tradition started by outcasts and rigid». and illegals with a penchant for hashish, the writer Clive Bell teases Enriching the world with different forms of being and doing is at out a telling lesson for an ongoing humanitarian crisis. the core of the essay by writer (and Norient editor) Philipp Rhensius. To belong often means to be able to communicate. In his essay In describing Eden Tinto Collins’ short film about the artist Amanda inspired by the film In Your Eyes, I See My Country, in which two Is- Baggs, a genderless nonverbal person with autism, Rhensius claims raeli musicians travel to Morocco, the scholar Keith Kahn-Harris ob- that communication goes far beyond the verbal. According to him, serves that lacking a common language is not always an obstacle to «silencing other people’s communication is an attempt to defend communication but «can offer its own insights.» It can help to build
12 13 new connections without preconceptions. Sarangi player. His expertise derives History is not just about what happened but also what might have Contributor from 20 years of performing, and aca- demic research to find new modes of happened. It might only take a new perspective to change a biography. expression in Hindustani (North Indian Aysel Özdilek reflects on this fact – that any unfolding plot might Biographies classical) music, contemporary rock be an invitation to consider other outcomes – in her essay about fusion, pop, folk, jazz, and experimental music. His ethnographic scholarship the Turkish composer İlhan Mimaroğlu. After watching the filmMi - draws on personal experience as an maroğlu: Robinson of Manhattan Island, the writer reads his life as eighth-generation musician belonging a «waiting room of possibilities, where the past, becoming virtual, Luisa Fernanda Uribe studied sociology, an- to a lineage of Hindustani musicians. continues to have an impact on our current situation.» thropology, and cultural studies in Suhail Yusuf Khan situates this musical Colombia. She has been working on fem- tradition in a globalized context. He inist spaces since 2010 with a particu- has been featured on more than fifteen lar interest in the participation of women albums and is currently signed to Dom- in public spaces and nightlife in Co- ino records, U.K.. lombia and Latin America. She is one of Emilie Friedlander is an independent cul- the founders of Pez Alado, a feminist ture reporter and essayist from New References collective that works against harassment York City. She co-hosts the podcast «The and violence in clubs and that also Culture Journalist». creates tools for safer and more inclusive André Santos is a freelance writer special- Barthes, Roland. 1981. Camera Lucida: night spaces in the country. She is also izing in cinema, television, music, books, Reflections on Photography. New York a founder of ECO, a platform increasing and video games. He was an editor at City: Farrar, Straus & Giroux Inc. the political awareness and participation Time Out Lisbon and currently collabo- Bender, Courtney and Taves, Ann. 2012. of different agents of the industry in rates with Observador and Sábado. What Matters? Ethnographies of Value in urgent debates about collectivity, decol- He also co-manages the record store a Not So Secular Age. New York: Colum- onization, and other key topics. Flur and the record label Holuzam, both bia University Press. Agata Pyzik is a Polish writer, focusing on based in Lisbon. Hirschkind, Charles. 2012. «Cassette-Ser- Eastern Europe. Her two books are Lisa Blanning is a Berlin-based writer and mons, Aural Modernities and the Islamic Poor But Sexy (Zer0 Books, 2014) and editor on music, art, and culture. A Revival in Cairo Audition in Contempo- A Girl and a Gun (Pamoja Press, 2020). former editor at The Wire Magazine and rary Egypt». In The Sound Studies Read- She lives in Warsaw. Electronic Beats. She is especially er, edited by Jonathan Sterne. 54–69. Adam Harper has lectured in popular music engaged in movements in contemporary London: Routledge. and culture at City, University of Lon- electronic music and digital culture art. Maurice Merleau-Ponty. 1958. Phenome- don, Goldsmiths, University of London, She has led panel discussions and artist nology of Perception. London: Rout- and elsewhere. Especially interested talks for festivals such as Unsound, ledge. Translated by Colin Smith. in the aesthetics of technology, he has CTM, and Atonal, as well as institutions Sedgwick, Eve Kosofsky. 1990. Epis- written for Wire, Frieze, The FADER, such as University of East London. temology of the Closet. New Jersey: and Resident Advisor. He published a Alaka Sahani is a National Film Award-win- Prentice-Hall. book on musical possibilities, Infinite ning journalist based in Mumbai, India. Wynter, Sylvia. 2003. «Unsettling the Music in 2011. She is an Associate Editor with The In- Coloniality of Being/Power/Truth/Free- Noëmie Vermoesen is an academic, dian Express. dom. Towards the Human, After Man, musician, writer and enthusiastic dancer Dan Barrow is a writer and researcher Its Overrepresentation—An Argument». currently based in Berlin. based in Birmingham, UK. He has written In The New Centennial Review 3, (3): Suhail Yusuf Khan is a Sarangi player, vocal- for The Wire, Sight and Sound, Tribune, 257–337. ist, composer, and a PhD candidate LA Review of Books, and others. in the department of music at Wesleyan Gisela Swaragita is a journalist for Indo- University. His dissertation «Bridge nesian national newspaper, The Jakarta Overtones: Life Lessons from the Saran- Post, focusing on music, film, art, liter- gi» will be the first in-depth ethnomusi- ature, travel, and other related topics. cological study written by a hereditary Born and raised in Yogyakarta, Indonesia,
14 15 Gisela started writing from an early age, Grace Takyi is an Assistant Lecturer at the Intimacy in Turkish Popular Music (Chica- Steph Kretowicz is a writer, editor and jour- and has strong connections across pop Department of Music, School of Per- go 2010). nalist specialising in music, contem- culture, media, and activism. She also forming Arts at the University of Ghana Simon Broughton is a documentary film- porary art, and online culture. Writing plays bass, sings, and writes songs for and lectures on Ghanaian and African maker and Editor in Chief of Songlines. appears in Flash Art, Dazed & Confused, dreampop band Seahoarse. popular musical arts and indigenous RRRKRTA is based in Warsaw, Poland. He Resident Advisor, The Fader, and The Joseph Kamaru, aka KMRU, is a sound artist music traditions found in Ghana. Her hosts a radio show on Czwórka public Wire, as well as The Guardian, Somesuch and experimental ambient musician, research interests include gender issues radio, runs DJ workshops for Instytut Stories, and Oxford Artistic and Prac- raised in Nairobi, Kenya, and currently in Ghanaian popular music, indigenous Dźwięku & co-curates the music program tice Based Research Platform, among based in Berlin where he is a Master’s performance practices, and gospel for Unsound festival. He has written others. Kretowicz is co-founder and student in Sound Studies and Sonic Arts music. Currently, she is pursuing a Ph.D. for Electronic Beats, Eastern Daze, CTM editor of London-based arts publication at the Universität der Künste. His works in Ethnomusicology. Festival, and Krytyka Polityczna, and AQNB.com, editor and researcher at deal with discourses of field recording, Patricia Jäggi is a research associate at the is/was involved in the Brutaż parties and 3hd Festival, and author of the novel and improvisation, noise, ambient, machine University of Applied Sciences and record label. cross-media narrative Somewhere I’ve learning, radio art, and expansive hyp- Arts Lucerne – Music and works in the Daniela Seitz is a researcher, curator, and Never Been, published by TLTRPreß and notic drones. He has earned internation- fields of anthropology of sound and DJ in Berlin. She is co-founder and Pool in 2017. al acclaim from his performances in listening, sound studies, and sound art. artistic director of Creamcake – an inter- Angus Finlayson has been active as a music far-flung locales as well as his ambient She completed a PhD in Cultural An- disciplinary platform negotiating the writer and critic for almost ten years. recordings, including the 2020 album thropology at the University of Basel point of convergence in music, visual He was formerly a staff writer at Resident Peel released on Editions Mego. about cultural politics and radio listening art, performance, and digital culture. Advisor and has freelanced for Elec- Rayya Badran is a writer, translator, and during the Cold War. Currently, she Recent projects include: 3hd, Paradise tronic Beats, FACT, RBMA, The Quietus educator based in Beirut. She earned works in an SNSF-funded project on Found, INFRA, Europool and and others. He also makes music and her MA in Aural and Visual Cultures practices of aural perception, mean- “
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