Daniela Cascella is a London-based Italian writer. Her research is focused on sound and literature across a range of publications and projects, driven by a longstanding interest in the relationship between listening, reading, writing, translating, recording and in the contingent conversations, questions, frictions, kinships that these fields generate, host or complicate.
As a writer who has chosen to write in a language that is not her mother tongue, she is interested in a form of writing-as-sounding that is not polished—that prompts to linger, stop, interrupt, and question what is not there, what is unheard.
She is the author of F.M.R.L. Footnotes, Mirages, Refrains and Leftovers of Writing Sound (Zer0 Books, 2015) and En Abîme: Listening, Reading, Writing. An Archival Fiction (Zer0 Books, 2012).
F.M.R.L. is a collection of short texts, fragments and deranged essays. It claims the complexity and intermittent incoherence in listening and reading, and works with their residual aspects addressing canons, issues of authenticity and fabulation, degrees of opacity and transparency across languages and cultures.
En Abîme 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 adopts listening an expansive approach across poetry, visual art and literature.
She is Assistant Professor in Writing in the MA Fine Art, Bergen Academy of Art and Design, Bergen, Norway, and Associate Lecturer in Sound Arts at LCC / University of the Arts London. She also teaches a workshop on Sound, Listening and Language in the MFA Fine Art, Goldsmiths University of London.
She was a research fellow in the School of Arts at Oxford Brookes University between 2013 and 2015. She has taken part in conferences and presented readings internationally, at the School of the Art Institute of Chicago, University of Oxford, University of Copenhagen, University of Cambridge, Tate Britain, Arnolfini among the others.
Her writing has been published in books and and exhibition catalogues internationally, on Koenig Books, Errant Bodies Press, Cura Books, raster-noton among the others; and in art, music and literary journals such as Gorse, 3:AM Magazine, Music & Literature, The Los Angeles Review of Books, The Wire, frieze.com, Organised Sound, MusicWorks, The Journal of Sonic Studies, Wolf Notes.
Daniela is currently Guest Curator (2015/16) at Lydgalleriet Bergen, Norway, where she is developing the LYD Writing Research Residencies in collaboration with Dominique Hurth and Natasha Soobramanien.
She was one of the curators, with Rhea Dall and Martin Glaz Serup, of Where Were We. On Writing, Intimacy, Body, a five-day international festival produced by Projekt Art Writing Aarhus, Denmark in December 2015.
In recent years Daniela has been increasingly drawn to and experimenting with the performative dimension of reading aloud, at events and series such as Sculpture 1 and Sculpture 2 curated by David Toop and Rie Nakajima at Café Oto, Points of Listening curated by Mark Peter Wright and Salomé Voegelin at London College of Communication, Beyond the Object curated by D. Toop at Central St. Martins.
Prior to her move to London in 2009 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.
Between 1999 and 2008 she was contributing editor of Blow Up music magazine, for which she wrote a monthly column on sound and the arts as well as articles and reviews on experimental music.