Warbound: Collective Audio Streaming from Ukraine
(2025)
author(s): Olya Zikrata
published in: Journal of Sonic Studies
Russia’s war of aggression is a multidimensional process of conquest that expands its time and space through sound. As Russian forces continue their advance into Ukraine, seizing Ukrainian territories both “horizontally” and “vertically,” as warfare scholar Svitlana Matviyenko (2024) has argued, Ukrainians across the country find themselves living in the sonic expanse of Russian assault. This research paper refers to this experience as one of warbound, of a (sonically) lived relation to war. To explore this relation and situated relationality it may entail, I turn to the work of Ukrainian sound artists and practitioners who participated in collective audio streaming, seeking to recast the Ukrainian testimony of the Russian invasion as a contingent truth claim. The paper examines the 2022 iteration of the audio stream project Listen Live, constitutive to the Land To Return, Land To Care research-creation laboratory. The project is studied in the scope of its testimonial reach and activist pursuit, as well as its humanist and posthumanist performativity.
A personal testimony of artistic research
(2023)
author(s): Ettore Cauvin
published in: Research Catalogue
"A personal testimony of artistic research"
Presented at RAPP Lab multiplier event: “Reflect & React. How Artistic Research Empowers Musicians and Performing Artists at Higher Education Institutions” in HfMT Köln (Cologne, DE) on Friday 12 May 2023.
Funded by AEC - Association des Conservatoires, Académies de Musique et Muzikhochschulen.
(Not so) Casual Conversations: Experiments in Attunement as Method in Investigative Art Practice
(2019)
author(s): Livia Daza-Paris
published in: VIS - Nordic Journal for Artistic Research
This exposition considers how investigative poetic practices could broaden notions of ‘forensis’ in terms of contemporary art. By developing my concept of ‘poetic forensics’ with attunement as a method that is “palpable and sensory, yet imaginary and uncontained” (Stewart 2011) it admits the nonhuman—trees, rocks, streams, animals—suggesting new relations beyond the human as possible witnesses (Williams 2018). This presents an invitation to think differently about articulations of public truth. The question ‘Who else is witness?' emerges while exploring material intrinsically elusive to testimony on what and who has been disappeared by oppressive geopolitics. Human-rights issues are implicit given the project’s focus on historical erasure and state violence at “the threshold of detectability” (Weizman 2017). It also attends to my family’s experiences as we faced the “political disappearance” of my father Iván Daza, in 1960s Cold War-era Venezuela. The project grapples with validity through methods and lively approaches that decolonize both knowledge (Tuhiwai Smith 1999) and nature (Demos 2016) presenting posthuman challenges to a privileged human onto-epistemological position (Viveiros de Castro 2015).
