There is no longer anything but movements, vibrations, thresholds in a deserted matter: animals, mice, dogs, apes, cockroaches are distinguished only by this and that threshold, this and that vibration, by the particular underground tunnel in the rhizome or the burrow. Because these tunnels are underground intensities. In the becoming-mouse, it is a whistling that pulls the music and the meaning from the words. In the becoming-ape, it is a coughing that sound[s] dangerous but mean[s] nothing…In the becoming-insect, it is a mournful whining that carries along the voice and blurs the resonance of words ①.

Burrow is a collaborative project between Polly Stanton (AUS) and Anja Kanngieser (UK/AUS), bringing together radiophonic narrative with sound composition and visual documentary. Born from a desire to explore what a feminist geophilosophy of sound would be, it takes the environment as a provocation for thought and intervention.

Drawing from geographical methods, it seeks to work across art and social inquiry to develop a creative practice that is as aesthetically engaged as it is politically and ecologically. As a feminist project it brings to the forefront not only the ways in which sensitivities to listening, materiality, embodiment and affect are prescribed as that of the 'feminine', but also the intersectional gendered, racialised and classed dimensions of sound art production within systems of capital.

Through this lens it aims to explore and question what it means to listen to the environment, and to participate in the world at a time of deep ecological and economic crisis. The tension of sound between states, sound in and of the Earth, the nonhuman and human, is what Burrow approaches.  

① Deleuze and Guattari. Kafka: Toward a Minor Literature (1986)