Earlid | summer 2015
I’ve always thought of this book more on the site of a murmur—hushed and continuous.
In F.M.R.L.: Footnotes, Mirages, Refrains and Leftovers of Writing Sound, Cascella’s pages tumble out to the edges and we are pulled back, invited to meander through film scenes and song tracks or sound art installations and aural memories of a grandmother’s lullabies. She seeks to reclaim the incoherence in this reading-as-listening, and to work with its residual aspects, like a distilling. Cascella reminds us of the fragility of early recordings, on the brim between keeping and vanishing.
What is the writer’s task in relation to sound? Cascella shares her concepts and together we remix her text (something she avidly invites readers to do in this text). In a conversation across the ocean, I appropriate imagined screams and a trekking through pilgrimages she and her book have taken.
Additionally, this dialogue construction is a collaboration with other sonic ephemera, borrowed from New York sound-film artist Kevin T. Allen, and the installation artist, Victoria May.
Featured in the Fair_Play 2, the 2018 compilation of 80 works by 90 international women artists, launched at the Lieu Multiple in Poitiers, France, through public listening sessions. A portion of Cascella’s conversation (“Scream”) is presented here.