In this sonic interview, artist, choreographer and host Isabel Lewis speaks to Reece Cox about explores non-linear composition”
In this sampled interview, multi-instrumentalist, composer, and conductor Hannah Catherine Jones discusses her work with the Peckham Chamber Orchestra, her ongoing series The Oweds, Wagner and Sun Ra, as well as sampling as a form of transtemporal sonic solidarity.
In this interview, artist and musician Hassan Khan discusses how decentering the singular voice, modulating words into other words, and producing algorithmically infinite beats offer a lived experience of multidimensionality.
Exploring forms of elemental listening, this sonic statement by writer-in-residence Jota Mombaça, deals with sound as heat and fire as re-de-composition of matter and language.
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.
Expanding on the lace-inspired design for Nottingham Contemporary’s Gallery Zero, curator Sandra Moros explores the sonic in Lorenzo Sandoval’s research of Spanish textile industry.
In this score, the artist duo sssSsssssssss (Ashkan Sepavand and Virgil B/G Taylor) offer a third part to the performance spread (medium) at Nottingham Contemporary exploring study, non-dualist space and the multidimensionality of time.
In this online talk, scholar and vocalist Fumi Okiji discusses the aesthetic sociality of music.
In this essay, archivist and curator Andrea Zarza Canova explores the creative strategies used by artists working with archival sound recordings and offers a critique of listening practices in institutional archives.
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 sound work, composer and musician Maxwell Sterling offers an audio palimpsest of time and metric composition.
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 new commission, visual artist Aura Satz continues her ongoing portraits of listening with percussionist Evelyn Glennie for whom listening is a form of touch engaging all the senses.
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.
Commissioned by Nottingham Contemporary, this broadcast thinks about music, weather and the atmosphere to re-orient the body-climate continuum.
In this essay, geographer and radio-amateur Sasha Engelmann, asks what environmental-climatic dynamics and sonic possible worlds travel around the planet through the radio spectrum.
In this newly commissioned sound collage, poet Belinda Zwahi uses poetry, archive footage and music to explore ancestral practices and nonfilial lineage.
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.
In this essay, art historian and writer Amelia Groom discusses artist Terre Thaemlitz’s use of silence as a tool of queer disruption and subcultural protection.
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 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 dialogue, artist and musician Satch Hoyt and curator Paul Goodwin discuss Hoyt’s ‘Afro-Sonic Mapping’, a sonic and visual research project tracing the migration of rhythms and sounds across the African diaspora.
The second of a three-part audio essay takes Partition as a sonic environment in which resistance and repetition reverberate, disputing ordinary notions of time and event. It follows the trajectories of the Urdu revolutionary poem Hum Dekhenge (‘We Shall Witness’) and Hindi protest-performance Hum Bharat Ke Log (‘We the People’).
In ‘Owed to Perpetual Healing’, artist and researcher Hannah Catherine Jones articulates and responds to the current socio-political climate through the healing frequencies, 528 Hz and 432 Hz. In this podcast, Jones asks how we navigate the interlocking pandemics and presents carefully selected tracks tuned to create space for simultaneous grieving, catharsis and hope.
In this listening-session, artist and filmmaker Louis Henderson discusses four records produced in industrial cities in the UK during the years of Margaret Thatcher’s reign. Proposing music as a particularly fertile site of developing solidarity and resistance to the violence of Thatcher’s neoliberal and racist police state, the essay listens out for the influence of the techniques of echo and delay, connecting the struggles of migrant workers from the Caribbean and the British miners and factory workers.
While the late 1800s saw territorial borders constructed across Africa, the early 1900s saw boundaries being placed on musical repertoires. 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 and explores forms of sonic resistance to the apparent neutrality of Western musical standards in today’s digital music tools.
In this weeklong sonic offering, artist Tabita Rezaire explores the sonic landscapes of the celestial realms. Taking form as a meditative lecture-listening-observation, it listens out for cosmological, scientific and yogic sonic manifestations of astral beginnings across various cosmologies and ritual traditions.
Voices, as artefacts of the historical event of Partition, carry multiple worlds. This audio paper pivots personal testimony, archival footage and fable around the British destruction of colonial records in its former territories. In the first of three episodes, artist and researcher Syma Tariq explores the sonic protocols that come into play in the context of colonial erasure.
In this fictional essay by Nottingham Contemporary’s writer in residence, Jota Mombaça considers forms of enclosure produced by the current ‘Global Biopolitical Siege’ and its increased militarisation, surveillance, and social disintegration through a speculative take on collectivity, sensibility, and anxiety.
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.
This broadcast explores the entwined histories of radio and protest to consider how the voice of authority has been deployed across North America and Palestine to violent ends. In response REH 001 reimagines this voice as something embodied, multiple, and embryonic.
What are the dreams and aspirations of an infective agent? What can a virus desire? In this essay, writer Filipa Ramos dwells on the agency of the SARS-CoV-2 as a way to envisage a harmonious attunement between the living and non-living forces of our planet.
By disjointing acts of listening from the ear and its particular arrangement of time, Sonic Continuum proposes a shift from representation to expression and asks: can sound restitute failures to listen? How might we listen to time affectively? What auditory imaginaries and possible futures can listening unfold?