Infrasonica is a digital platform of non-Western cultures. We record, analyze and debate the eeriness of sound and its auras, linked to the world with the audible, the hidden and the sensitive. Infrasonic waves operate at a frequency that is undetectable by human ears even though they are often generated by massive ecological phenomena, such as the movement of tectonic plates or the deep currents of the ocean. Infrasonica aims to be a catalyst for those vibrations.
The platform includes archives of experimental sound and visual artists, as well as theoretical musings on contemporary critical thought. By relying on a borderless network of collaborators, Infrasonica blends essays, conversations and speculative works that encourage critical curatorial and research projects.

  • Audible Matter / WAVE #5
  • September 2021
  • 8

Audible Matter / WAVE #5:

How can we center an audible experience based on the agency of matter? In other words, how do stones listen? What do they hear? Through Audible Matter, we want to celebrate the ever-failing attempt of human translation. The sound that wind makes through leaves in a densely populated forest represents the overwhelming nature of the audible, irreducible to human knowledge. Yet, we keep trying. We keep listening, hoping to engage with the cosmic nature of death, life and everything in between.

Audible Matter might appear as a seemingly contradictory enunciation. From within Western tradition, sound has been detached from its materiality. As a visually centered culture, the very proof of the “realness” of matter relies on it being revealed to us visually. Its formal qualities frame the perception of reality. Sound then is associated with a procedure of abstraction, detached from the formalities of matter. Curiously, this relationship of audible-matter is part of our daily representation of reality as much as the visual representation of the world is. While turning a corner, the frenetic sound of a car approaching our sight announces its momentary presence. Sound, we could argue, is associated with common knowledge as much as the visual regime is.

Rather than sound in the service of knowledge, Audible Matter exists as a contingency. The caresses of the desert wind of the Atacama against the dunes have meaning only until we take part in the desert as a system. Acknowledging this juncture with its potentialities, paradoxes and impossibilities is at the core of this Current. These acknowledgments happen together with an outstanding group of artists, musicians, curators and thinkers in our 5th Wave; they challenge the very way we relate to the act of listening.

  • Audible Matter / WAVE #4
  • April 2021
  • 6

Audible Matter / WAVE #4:

A variation of a popular saying goes “Si el río suena, es porque piedras lleva,” [1] conceding rumor mills as a valid source of knowledge. If many people speak about the same thing with a minimal consensus, there must be an underlying truth to be discovered. Rumors are the encounter of sonic energy and social language.

The entanglement of knowledge and sound is to be understood from within the intimacy of situated collectivities and their relation to the audible. Sound is mediated, translated and negotiated collectively from where systems of non-Western knowledge take shape. The river groans because its materiality is in friction with the world.

Audible Matter, the title of our second Current, aims to think about the conjuncture of soundings and knowing-the-world through an audible experience. Contrary to a reduction of sound to cognitive human processes, we take inspiration in the anthropologist Steven Feld’s work on Acoustemology, considering situated knowledge and social systems that act with the world, and whose knowledge is based in collective memory, anti-colonial resistance and non-human kinship. The notion of knowledge is activated through the de-substantialization of sound, acting as ontological relationality, a sound that is simultaneously situated and fugitive and exists always in relation to others.

With our next set of Waves, we will respond to questions such as: How is sound mediated and translated? How does it shape indigenous epistemologies in tandem with the non-human world? How does the audible engage with the enigmas of silence and infrasonic registers of sound? Where do culture and the materiality of sound find each other? How do the sounds of trans-Atlantic waves pummeling stones into sand build upon a philosophical and existential experience?

We are beginning our exploration of Audible Matter by focusing on these types of questions. Our Wave #4 features sound artists, experimental composers, filmmakers, writers, musicians, scholars and artists.

[1] “If the river groans, it’s because it carries stones.”

  • Sonic Realism / Wave #3
  • January 2021
  • 7

Sonic Realism / Wave #3:

Sonic Realism is the first Current of Infrasonica, which is composed of three annual Waves interrogating the relationship between non-Western sonic/visual practices and politics. We aim to think about how sound is translated and mediated through cognitive and non-cognitive technologies, sabotaging labor automatism, regimes of truth and the politics of the representation of alterity.

In the series of collaborations, we have drawn upon a set of practices ranging from music to practical theory, social art entanglements, contemporary arts, cyber-rituality, speculative works, activism and indigenous knowledge. We hope you enjoy this set of contributions as much as we have enjoyed working on them with our dynamic and engaging set of first collaborators, friends, colleagues and contributors around the world.

Sonic Realism explores the politics of sound in relation to the sensible world and its meanings while engaging with different materialities. This first current aims at contesting the terror of xenophobia; the enclosure of the anxious-self and the rise of ethno-nationalism around the world. We invite you to reconnect with the simple pleasure of uninterrupted listening, and that through browsing our Waves you will find yourself entwined in the space where text shifts to the vibratory pauses of sound.

  • Sonic Realism / Wave #2
  • September 2020
  • 5

Sonic Realism / Wave #2:

Kelman Duran (Dominican Republic,1984) is a Dominican-American DJ, producer, visual artist and writer, currently based in London.
Kelman grew to relevancy on the DJ scene as the owner of an unmistakable sound, pushing post-perreo sound esthetics into a new field where ghostly ambient elements resignify the so-called 'ghetto music’ label with an inexhaustible experimental north. Duran often subverts troubling perreo tropes while wielding exacting control over the assemblage and sampling of his music.
Kelman’s discography includes Too early, too late (2O20), 6AM (2019), 13th Month (APOCALIPSIS, 2018), 1804 KIDS (Hundebiss Records, 2017).

  • Sonic Realism / Wave #1
  • April 2020
  • 7

Sonic Realism / Wave #1:

Nicola Cruz (Limoges, 1987) is a Franco-Ecuadorian DJ and producer, who explores local sounds from Ecuador and the region, recontextualizing them into complex compositions that defy categorization. In recent years, he has expanded his sound, which was initially called “Andes step”, propelling the genre forward. His studio work Prender el Alma (ZZK Records, 2015) and his recent album Siku (ZZK Records, 2019), reaffirm him as the owner of an unmistakable sound that has managed to entangle with the use of ancient instruments while inserting itself into contemporary electronics. Taken from his EP Cantos de Vision (Multi Culti, 2017), the track Danza de Visión is a great entry to his proposal.

00:00 00:00