From Astrida Neimanis' ‘Hydrofeminism: Or, On Becoming a Body of Water’, in H.D. Gunkel, C. Nigianni, and F.D. Soderback (eds) Undutiful Daughters: New Directions in Feminist Thought and Practice. New York: Palgrave Macmillan, pp. 85–99.

When listening to underwater recordings, the sounds usually pass through air. That is, through a space—whether squeezed in between the thud of an earphone and the ear or through bigger, lively spaces. In many ways, listening for the below, means being out of water. Listening to underwater consists in a composition of sorts, an in-between, which doesn't neatly conform with above nor below. For this project, I experiment with feeding underwater recordings through explicitly, loudly characterful spaces in order to highlight our role in recomposing the media of air and water to create an aesthetic expression. I do this via the use of convolution reverbs.