Daniela Cascella is an Italian writer. Her research is focused on sound, literature and listening across a range of publications and projects. Over the last few years she has practised and theorised Writing Sound in connection to reading, memory, personal/collective histories, and the interplay between fiction and criticism. At the core of her current research is a new book, that will feature a collection of short critical texts and fictional fragments on the ephemeral, recording, the inability of naming sound and the possibility of writing it nonetheless. In recent years she has been increasingly drawn to and experimenting with the performative dimension of reading aloud, and she is currently writing a series of text-scores to accompany such performances.
Her last book En abîme: Listening, Reading, Writing. An Archival Fiction was published by Zer0 Books in 2012. The book explores listening and reading as creative and critical activities driven by memory and return, reshaped into the present. It introduces an idea of aural landscape as a historically defined cultural experience and contributes to the emerging area of listening as artistic practice, adopting an expansive approach across poetry, visual art and literature.
She is Early Career Research Fellow in the School of Arts at Oxford Brookes University and MA Course Leader in Writing at the Bergen Academy of Art and Design.
She holds an MFA in Art Writing from Goldsmiths, University of London.
In collaboration with Salomé Voegelin she runs Ora: Voyages into Listening and Writing, a series of monthly broadcasts on Resonance 104.4FM. She is co-founder and editor, with Paolo Inverni, of Noch, a digital publisher. Daniela blogs on Writing Sound, gives readings and leads workshops on Listening and Writing.
Recent projects include readings and presentations at Sculpture 1 and Sculpture 2 curated by David Toop and Rie Nakajima; the Ephemeral Sustainability conference, Lydgalleriet, Bergen; the Writing Sound Symposium, SARU, Oxford Brookes University; the Sound Art Theories Symposium, School of the Art Institute of Chicago. Her essays have been published in books and exhibition catalogues internationally, on Koenig Books, Errant Bodies Press and raster-noton among the others. Her articles and reviews have appeared in The Wire, The Los Angeles Review of Books, frieze.com, Organised Sound, MusicWorks, The Journal of Sonic Studies.
Prior to her move to London, Daniela worked in Rome, Italy as a journalist and curator specialising in Sound Art, producing and curating projects for museums and public institutions such as the National Gallery of Modern Art, Rome and the British School at Rome. She was contributing editor of Blow Up music magazine, for which she wrote a monthly column on sound and the arts.