Federica Notari

when they told us we were moving i started to take a lot of pictures the house

a few conversations at rewire next week Fragile Minutes with artists @___pet___ @jenniferwalton.co.uk , and @malib9 Machine Listening with Steve Goodman @kode9 And book launch with a throw back conversation with @cisbdegendt @torvs @annamosza @lilianechlela @hungernet and many more amazing contributions thanks @katiatruijen for the invitation and curation as always amazing context program

❣️In 2025, Through Sounds and -1 joined forces to organise two encounters in which Federica Notari (@notajpeg ) together with several guest speakers, explored the role of sound in identity formation and the forms of presence and participation that emerge as the boundaries between online and offline realms increasingly collapse. We would be delighted to welcome you again on March 19, for an evening of sonic performances and conversations, in which we reflect on music’s long-standing role as a testing ground for technological change. 🎛️ We invite you to listen, reflect and engage with invited speakers Edoardi Biscossi @edoardotcom , Luca Bruls @ukelulu1.0 and Lynnée Denise Bonner @lynneedenise 💿 Through Sounds is a research project led by Federica Notari exploring how and where we listen- whether in physical spaces like concert halls, raves, or city streets, or virtual ones like CDs, MP3s, and streaming platforms. From file sharing to streaming as music circulates, the boundaries between online and offline blur into a new, mixed reality. Previous speakers: @lynnnnnnnnnnnnnnnnn1 @_benjamimfurtado @fru_tto @451_232 @slutty_urbanist @taxreform 💗 Song: monsoon (nts 2 version) by @shinetiac 👩🏻‍💻 Video by @fomoforever

Sonically, the term ‘clipping’ signals distortion—where sonic excess exceeds clarity, opening up new spaces of possibilities. Clipping 2: Sum, Parts gathers transcripts, commissioned texts, studies, and personal reflections that explore how dynamics of transformation are central to building archives that remain ‘alive’ through time. With contributions by @monique_todd @andreazarzacanova , @cleotsw , @zahrammm , @fahrtrichtunglinks , @melisacenik , @golmati , @voiceaslandscape (@un_mateo_ and @lorenzombiee ), @atiyyahkhan , @ibelisseguardiaferragutti , @loma_doom , @alicetwemlow . “ A, E, I, O, U” This issue departs from the Sonic Archive program hosted by @nadd.network which I was invited to curate with @queer_paper_trails around the theme of regenerative archives. Edited with @cleotsw Designed by @cleotsw and @cathucath Copy edited by @cdr_103 Print and bound by @nokiss___ @sardine.png

hi from me thank you to everyone whose shared spaces words mics songs and moments with me in 2025 home spaces chat spaces canteen spaces printed spaces event spaces institutional spaces doctor office spaces 2.1 spaces online video call spaces live music spaces spaces of joy and fear i hope you know who you are starting 2026 grateful for the company in all seasons of life

Excited to finally share with you Clipping I: Coming of Age Launching the first of Through Sounds’ publishing trajectory — Clipping — Thursday the 16th of October at 6:30pm at @san.serriffe Sonically, the term ‘clipping’ is a form of distortion that happens when a signal exceeds its limits, flattening waveforms and producing harsh, jagged textures. It’s a breakdown of clarity, but also a site of possibility. At the same time, “clipping” evoke fragments - materials gathered, cut, collages and rearranged- echoing the way we re-assemble the traces of Through Sounds’ ephemeral gatherings into text. Clipping I: Coming of Age gathers transcripts, commissioned texts, personal reflections and tracks that explore the social, emotional, and infrastructural dimensions of ‘becoming’ through sound and music, from Through Sounds collaboration with @rewirefestival context program with @katiatruijen in 2023 and 2024, with programming happening both during the festival and at @nieuweinstituut . This edition carries contributions by alys(alys)alys, Ash Kilmartin, Brandon LaBelle, Content Care, corecore, Emily Moore, Federica Notari, Golnoosh Heshmati, Juliette Lizotte, Katía Truijen, Natasha Rijkhoff, rEmPiT g0dDe$$ and Slikback.  Edited by @natasharijkhoff and I Graphic design by @cathucath @cleotsw Distributed by @jessepresse Printed and bound by @nokiss___

I am super excited to be joining forces with Vivian Wang @wangvivian next Thursday, September 4, at Nieuwe Instituut, Rotterdam. We are cooking a listening event where we weave together sounds from the building’s surroundings with the voices and traces left by visitors in my interactive installation unbound echo. Parallel Resonances draws on found sound, field recordings, collective voices, and live material, where Vivian and I will create a shared improvisational landscape in dialogue with the environment and those present. The audience is invited to step into this process and become part of the soundscape as it unfolds as well. This program is part of Living Forms: Experiences between Architecture and Emotion, an afternoon and evening of performances and conversations stretching out of the exhibition Ma Yansong: Architecture and Emotion. The program includes talks by Xu Weichao with Mark Minkjan, Mira Nekova, and Gary Zhexi Zhang, leading up to Parallel Resonances at 20:00. Parallel Resonances is a collaboration with Federica Notari @notajpeg , as part of Through Sounds, a long-term research project that looks at ‘sonic culture’ as a field for spatial and social design. 📍 Nieuwe Instituut, Museumpark 25, Rotterdam 🗓 Thursday 4 September ⏰ 16:00–21:30 (our performance 20:00–21:00) For the full programme, check out @nieuweinstituut 📸 Image credits: Aimée Theriot, unbound echo, 2025, installation view at Nieuwe Instituut. Photo: Kleoniki Stanich Vivian Wang, STUKJenny Hval. Photo: Joeri Thiry

Time within the museum hits differently Catching up, chasing time, B2B refers to meetings without breaks in between Making it to the event date Having enough time to — Trying to find time to — It gets hard for me to feel present at times I love the museum on Mondays because its empty Recovering from the bodies that moved throughout it Mondays at the museum make me feel like I’m Pinocchio when he gets swallowed in the whales belly With no way out, until the whale viscerally and violently vomits him out I imagine the belly having a particular echo I’m already thinking thinking and working towards 2026 but before then some special moments of 2025 that make me feel so lucky and lots of other beautiful feelings I don’t think the platform can do justice to … and me with dogs because I am also outside of the whale’s belly, just finding it harder to share about that online Photos and events aren’t in order :) - Launch of Kunstlicht Reverberant Ecologies by @mannyzammy - Opening of MAD: Architecture and Emotion, one of my favorite parts of the year has been working alongside @mucha_mucha_cha and activating through different moments this commission. Photos by Kleoniki Stanich big thanks to @tijnvandewijdeven - A full day curated for NADD Regenerative Archive Day filled with sonic performances, interventions, and conversations with incredible voices @atiyyahkhan @loma_doom @ibelisseguardiaferragutti @voiceaslandscape @zahrammm @melisacenik @meleyamomo @golmati thanks to @queer_paper_trails - IVP Program with @najibaatwork and Atiyyah visiting the IISH Archives in Amsterdam - Rewire Context Program, Fragile Minutes conversation on Coming of Age @rewirefestival - Workshop with Aimée, making collective sonic scores and playing together, photographs by Sigrún Sveinsdóttir - First collaborative event at @minus1nieuweinstituut thanks to @sambarhino_ @tommytawanda — more to come this autumn on music and the internet, kicked off with @451_232 @slutty_urbanist @taxreform Can’t wait to share more about what’s coming this Autumn — 🪢

with some delay sharing about this years collaboration with Rewire, on Coming of Age Through Sounds / Music for our second collaboration with the best @katiatruijen and Emily Moore — hosted both at @nieuweinstituut with @caringforcontent @jujulove_official @daantimmer @ariannevanderveen and then at @rewirefestival with @rempitgoddess @alys.alys.alys @slikback from tracks to talks and going to text - as we’re working towards publishing the first of a new series: Clipping Through Sounds as publishing gestures following these moments of gathering

dog named olive

Coming of Age Through Sound On March 27th Through Sounds @nieuweinstituut and @rewirefestival will co-host an evening exploring coming-of-age experience through music, tracing how deeply personal encounters with music and sounds evolve into collective expressions. Through the internet and club culture, music bridges the gap between isolated experiences and communal infrastructures, forming networks of shared meaning and distribution. Tracks themselves become social objects—carrying stories, sparking interactions, and transforming spaces. By thinking about how music shapes and is shaped by personal and communal journeys, the evening will explore the interplay between the individual and the collective in the process of coming of age. Looking forward to hosting with @katiatruijen @caringforcontent @jujulove_official @deschuurman.mp3 And then on April 4th at Rewire with @rempitgoddess @alys.alys.alys ... and more TBA! Artwork by @cathucath

this is the Avril Lavigne 2004 CD I illegally purchased when I was a pre teen living in Nanjing at the local CD shop for 10 yuan, 1 euro the CD encompasses the grey zones of legality, music traveling globally but hitting the market with its locally adapted language/graphic design, remixed and bootlegged. Some would say it’s a fake counterfeit CD i’m not really sure what that means anyways lol and the consumer - the child of neoliberalism and globalization, born in the small town of the periphery of Naples, Acerra, moving to China just as the millennial hit and the country opened to global markets. As well as of course a glimpse into my music taste, and that of many young pre teens in those years. across the globe we were listening to Avril Lavigne, with CDs and distribution defined by local specificities. these are the sonic infrastructures I have been busy working through - the place where we listen, where we access sound and encounter it, not as exclusionary places but spaces of global and local mechanisms and dynamics. but more on this elsewhere.