Slip-Syncs, Collapse, and Strange unrealities In the films of Sogo/gakuryu ishii

The interrogation of the relationship between cinema and politics is predominantly associated with the visual domain, where the politics of the audio-visual is all too often reduced to the politics of the image. The publication series Echoes of Dissent aims to parry the hegemony of the eye, and subsequent disregard for the ear, by examining the relationship cinema–politics from a sonic perspective.

Echoes of Dissent #3: Slip-Syncs, Collapse, and Strange unrealities In the films of Sogo/gakuryu ishii by Jennifer Lucy Allan. Published by Courtisane in March 2026.

The publication series is initiated and edited by Stoffel Debuysere, in the context of the research project with the same title at KASK & Conservatory / School of Arts Ghent.

Publication available via Courtisane bookshop

To launch the publication Ecstatic Dislocation: Slip-Syncs, Collapse, and Strange Unrealities in the films of Sogo/Gakuryu Ishii,, author Jennifer Lucy Allan will introduce Ishii’s Crazy Family (1984) at the Cinematek on 23 April 2026.

The Art of Resonance: Maria Chávez

The research cluster THE ART OF RESONANCE (KASK & Conservatory Gent) is organising a series of informal listening sessions with international artists and researchers, with an eye (and ear) to cultivating a sonic sensibility and relationality.

Herculeslab — KASK & Conservatorium / School of Arts Gent
Thu 19 March 2026 17:30, in the context of Research Days

Born in Lima, Peru and based in NYC, Maria Chávez is best known as an abstract turntablist, sound artist and DJ. Coincidence, chance and failures are themes that unite her work across mediums, including improvised performance, sound sculpture, visual art, book objects and multi-channel installation.

During this session, she will introduce her groundbreaking improvisational turntabling practice, centered on connections between material and temporal failure, and experimentation, through the use of broken vinyl records. The session will draw directly from Chávez’s long engagement with Deep Listening, a practice developed by Pauline Oliveros, emphasizing embodied attention, improvisation, and responsiveness to environment and materials. Here, play operates as a method of research, where experimentation and risk-taking generate knowledge through action rather than instruction. 

Shadows of the Unseen / Stegi Radio 54

54th episode of “Shadows of the Unseen” for stegi.radio Athens. Aired March 2026

1. Excerpts from Tomber des Nues, Natalia Duguay & Brokenwood (2025)
2. Ingram Marshall, Prelude (The Bay) (from the multimedia work Alcatraz with Jim Bengston, 1984)
3. Raskovich / Braen (Alessandro Alessandroni / Giuliano Sorgini), La Vittima (from Quarta Pagina (Poliziesco), 1971)
4. Magazine Criminali, Honolulu (from performance play Notti Senza Fine, 1983)
5. Ugo Busoni, Polvere Cosmica (from Valvole, 1975)
6. Brion Gysin & Steve Lacy, The Door (For Gysin’s Dreamachine)
7. Joel Vandroogenbroeck, Sensazione Fisiologica (from L’Immagine Del Suono, 1972)
8. Coil, No New World (Unreleased theme For Hellraiser, Clive Barker, 1987)
9. Lucretia Dalt, Theme Three (From Rabbit Trap, Bryn Chainey, 2025)
10. Enno Velthuys, Underneath A Dark Sky (date unknown)
11. Ron Geesin, Wayward Balloons (From Sunday Bloody Sunday, John Schlesinger, 1971)
12. Ingram Marshall, Inside (from the multimedia work Alcatraz with Jim Bengston, 1984)
13. Joel Vandroogenbroeck, Risonanza Estatiche (from L’Immagine Del Suono, 1972)
14. Moebius, Am See (From Blue Moon, Karsten Wichniarz, 1986)
15. Giovanni Fusco, Deserto Rosso (From Deserto Rosso, Michelangelo Antonioni, 1964)
16. Misha Panfilov, So Long III (From Sierra, Sander Joon, 2022)
17. Giovanni Fusco, L’Eclisse (From L’Eclisse, Michelangelo Antonioni, 1962)