In this operatic interview, artist Lina Lapelytė speaks of how music, musicians and scores enunciate shared forms of being and belonging as they relate to gender and life under capitalism.
In this essay, geographer and radio-amateur Sasha Engelmann, asks what environmental-climatic dynamics, intersectional modes of listening and sonic possible worlds travel around the planet through the radio spectrum.
In this essay, researcher and curator Margarida Mendes discusses how sonic technologies shape ocean knowledge, proposing counter-sonicity as a conservation tactic.
In this essay, performance studies scholar Hypatia Vourloumis, discusses a political ecology of human and non-human assemblages in the sonorous materiality of anticolonial writing.
In this response-in-progress to the poetic sequence ‘Now Let’s Take a Listening Walk’, poet Nisha Ramayya asks how writing can sound, relate, melt, and listen.
In this melodic interview, artist Hajra Waheed dives into ‘Hum’ (2020), a sound installation exploring histories of sonic resistance.
Commissioned by Nottingham Contemporary, this broadcast thinks about music, weather and the atmosphere to re-orient the body-climate continuum.
In the moving image work ‘Death Grip’ (2019), artist Diana Policarpo offers a sonic exploration of a caterpillar fungus species as it folds narratives of healing and economic progress.
In this short essay, historian Jon Curry-Machado explores what might be gained by opening our ears to the sounds of Cuban sugar plantations.
In this textual score and sonic work, artist Urok Shirhan reflects on the consequences of the Covid-19 pandemic to public speech and collective voicing.
In this essay, artist and researcher Andrew Brooks asks if a sonic politics of solidarity might be heard in the refrain of grief and rage.
Expanding on the lace-inspired design for Nottingham Contemporary’s Gallery Zero, curator Sandra Moros describes the use of the sonic in Lorenzo Sandoval’s research of Spanish textile industry.
The second in a series of audio-essays commissioned to researcher and DJ Syma Tariq that takes Partition as a sonic environment over notions of time and event.
In this podcast, artist and composer Hannah Catherine Jones responds to our current social and political grieving with the healing frequencies of 528 Hz and 432 Hz.
In this sound work, composer and musician Maxwell Sterling offers an audio palimpsest of time and metric composition.
In this essay, curator and researcher Bhavisha Panchia reflects on the 1932 Cairo Congress of Arab Music to review the Western systematisation of Arabic modes.
In this sonic offering, artist Tabita Rezaire, listens out for cosmological, scientific and and yogic manifestations of our astral beginnings across various cosmologies.
In this fictional essay by Nottingham Contemporary’s writer in residence, Jota Mombaça considers a global scenario of enclosure, biological surveillance and increased militarisation.
The first in a series of audio-essays commissioned to researcher and DJ Syma Tariq that takes Partition as a sonic environment over notions of time and event.
In this essay-as-listening-session, artist and filmmaker Louis Henderson proposes music as a site for solidarity against Margaret Thatcher’s neoliberal and racist police state.
Damian Lentini: Let’s start by talking about two projects, which are taking place concurrently in 2020 – ‘Zugzwang’ at Haus der Kunst, and ‘In Cold Print’ at Nottingham Contemporary – and the way in which you thought about these commissions. Sung Tieu: At Haus der Kunst, my initial desire was to propose something derived from…
In this video AUDINT focuses on a research unit’s member as he crosses the Atlantic in order to gain access to a rare and little understood medical document that holds the encrypted formulas for seeing Cotard’s Delusion, also known as the Walking Corpse Syndrome.
Over a period beginning in early August 2017, AUDINT became entangled in a meme complex which is still ongoing, emanating from and propagated by the State Department of the USA. Revolving around the alleged sonic ‘attacks’ on US Embassies in Cuba and South China, this memeplex is drenched in uncertainty and disinformation. Dossier 37 tracks the timeline of these mysterious ‘attacks’, while explicating the polyvalent concept of unsound.
In 1961, at the peak of the Space Race, the Soviet Union government secretly sets up an experimental laboratory researching sonic warfare tactics. The project lead is the auditory perception and processing expert, Aliki Zamfe. Code Ω is an account of Zamfe’s pioneering research, as recently released by her granddaughter Souzanna Zamfe.
In this broadcast, the entwined histories of radio and protest make audible how the voice of authority has been deployed across North America and Palestine to violent ends.
In this essay, curator Filipa Ramos dwells on the agency of SARS-CoV-2 as a way to envisage a harmonious attunement between the living and non-living forces of our planet.
In this introduction, Sonic Continuum editor and curator Sofia Lemos introduces the themes of strand and imagines how disjointing acts of listening from the ear and its particular arrangement of time might restitute failures to listen.