Sonic Fabulative Feminism is an artistic research conducted by Paula Montecinos Oliva, a Chilean sound artist, choreographer and researcher based in Amsterdam. Employing an embodied, decolonial, and techno-feminist approach, the artist investigates radio broadcasting as a performative realm through the organization and hosting of collective listening events and sonic interventions.

The project, developed during the transmediale residency program in Berlin and the BAK fellowship for situated practice Utrecht, gathers contributions from Latin American sound artists and researchers in the diaspora. Interested in exploring the translocality of space, time, and language, Sonic Fabulative Feminism (SFF) works with sonic archives, noises and silences as carriers of poetic-political argument, through which interweave sonic imagination, with debates of the public sphere, addressing current global tensions, of a present-in-crisis.

Listening beyond the aural signal, the project asks: How to fabulate sonically, with the re(de)composition of relational paradigms, timelines and his/torical memories? What (new?) structures of perceptual engagement can be addressed in current debates and practices of global solidarity? How can the multiple repositionings of the listener, as well as the act(s) of listening, reconfigure new maps and horizons of bodies and spaces? What messages reside in the forgotten, the fractured, and silenced memories? What can be heard only through noise and cellular memory?

You can read more about the project here.

Or contact Paula by clicking here.

#sonic movements 
#tech poetics
#{embodied} political sound
#feminist sonic technologies
#sonidos con cuerpo
#embodied technology

The sonic performativity is an ongoing investigation into sound, listening and embodiment, that aims to articulate an in-between state from which multiple echoes and voices of re-existence come into being. In a process of voicing, resonance, amplification and transduction, sonic performativity seeks for the activation of minor gestures and changes that grow exponentially, allowing access to inaudible frequencies, rhythmic dimensions of noise, voices and senses, in which people can -be moved by-, -move through-, and -listen in- sound. It’s a state of contradictions, connections, and transformations where emergent scenarios take place, but also the moment when the referencial points shift, unraveling translocal and transtemporal possibilities of sonic narratives.

Focusing on experimental research methodologies within the context of sound and choreography, Paula Montecinos practice investigates the mobilising and performative aspects of the sonic, asking: How are people moved by sound, singularly and collectively, spatially and somatically, affectively and politically? What tools are needed to access the intermediary spaces of bodies and energy, tangible and intangible materials, and nonlinear narratives? How can sound and listening afford to counteract hegemonic systems of thought and perception? How do sonic archives enable trans-local and trans-temporal relation with events?

Montecinos artistic research methodology oscillates through performative sonic practices, electronic experimentation and, written matter within collaborative and individual projects trajectories. She proposes that practices of affective proximity and auditory imagination as a way to investigate the transformative and emancipatory potential of body, movement and listening to enact changes and challenge hegemonic-monotonic thinking.

Other involved researchers: Constanza Piña, Johan Mijail, Pedro Matias, Devika Chotoe