Geographical rhythms

Aliona Ciobanu

Graduation Thesis

Royal Academy of Arts The Hague
Supervisors: Dirk Vis and Prof. Dr. Füsun Türetken

Abstract

This thesis explores how myths become embedded in collective identities and how noise can serve as a form of resistance to myths. Starting from a personal perspective and moving to a broader one, I’m exploring three specific narratives that shape the collective identity in Moldova: language as a political tool for homogenization, visual culture as a representation of power and the role of heroes in reinforcing those narratives. By researching historical and geopolitical myths, I seek to understand their purpose and significance in contemporary society. When myths are utilized as political tools to influence collective identities, anything that does not align with the narrative is often perceived as chaos or noise. As such, one question remains: What do these noises truly signify?

Introduction

Geography is never neutral and borders are shaped by politics. I grew up in Moldova; a country with a complex history. A country that through decades went through many territorial and political transformations. My common physical surroundings are mostly based on post-Soviet imaginaries. Some symbols are gradually decaying. Some buildings are becoming ruins and disappearing into the land, while other elements keep living in different forms by changing their functionalities. The presence of them is a reminder of a past history of colonization.

I do believe that the ruins, which I in the following chapters name noises, are not limited to their physical presence. But they are noises that go deeper into both the culture and language of Moldova. I use the term noise from multiple perspectives, as in the frame of colonization see the term as a force, which invades a space to influence it. In this way, noise is an unwanted sound, as the suppressed culture is infused by another dominant culture. Another perspective on noise is looking upon it as a form of resistance, as I refer to noise as a methodology to look beyond set forms and political norms. Can noise as involuntary fluctuations become a source for knowledge? A source to detach from what we consider normal? And is it possible to reimagine another geography through noise? A possible geography of plurality?

To take a step back and detach emotionally from the place and history I am from, I use myths as a lens to look upon the present and understand it in relation to the past. Myths are common grounds. Common stories in which a community’s beliefs are built upon. Through my chapters focused on Moldova, I refer to myths as ideological tools with geopolitical intentions. As myths speak about common beliefs, I start from the most common places of national identity, language and territory. Every part in this essay is an attempt to demystify ruins and how it has come to both shape me, but also a collective memory of Moldova. I look upon those structures through the lens of political myths to raise the question: How can we identify the noises within the culture of Moldova to move beyond political myths as naturalized norms?

Camille Flammarion, L'Atmosphère: Météorologie Populaire (Paris, 1888)

Becoming

Myths have played a crucial role throughout human history in making sense of difficult natural concepts such as why it rains and why a landscape changes. By personifying phenomena or abstract concepts, myths provide a narrative framework that can make these concepts more accessible and relatable to human understanding. Myths are cultural common places that are perceived as natural in a given culture, but in fact were naturalized and their historical, political or literary origins forgotten or disguised.1

Roland Barthes mentions that myths are a type of speech, as myths function as a system of communication that generates meaning. Myths are simple stories that through the use of metaphors cut to the core of what it means to be human. While new myths emerge from the most daily habits of contemporary life, ancient ones are continuously reinterpreted and contextualized within the present. Myths allow us to imagine another present, past and future. Myths create bridges from the here and now to the there and then.2 As any story, myths need a context to become alive. Every piece of land has its own rules, but what happens when they go out of the literature margins and become a political tool? Myths are both embedded in our everyday rituals, our language and our visual culture. When these become the result of historical political structures, is it still possible to reimagine another time free from such frameworks?

Mircea Eliade writes that a traditional society needs myths to live and to have a sense of belonging, meaning and security. The myth is regarded as a sacred story and hence a "true history".3 Myths become a “role model” to follow as an “absolute truth”, in which we believe, when we detach from our personal values to act and follow such a “role model”. In this way, myths become a form of excellent cognitive thinking performed in the form of rituals.

I grew up in Moldova. Moldova has been colonized many times by the Roman Empire, the Ottoman Empire, the Russian Empire, and the Soviet Union. Thus we still carry the “noise” and traces from such histories and different colonizers in the form of food, rituals, celebrations, street names, and even speech. In general terms, noise is considered unwanted or loud sounds, but in the context of colonization, I’m referring to noise as a symbol of the cultural and ecological pollution of a territory.

In the following lines, I’ll try to find answers to these questions by returning home. Returning to the last era of colonization, which effects I still hear today. I didn’t grow up directly in the Soviet Union. I experienced the effects of it through the subjective perspectives of my family and in the patterns that Moldova still carries. The story I bring to you is a subjective one, as I refer to the political ideology as a myth. One that has become a role model for more than a decade and has changed the collective identity and memory because of its dominance.

Let’s begin with the invasion. In 1940 geo-political and geo-strategic interests from the Soviet Union in the land of Bessarabia4 became more intense. In order to hide their geo-strategic interests of occupying the territory, a more believable narrative was needed. According to their narrative, Moldova was a separate nation with no link to Romania.5 Instead Moldova had a closer historical identity and culture with the Russian, Ukrainian and other Soviet people’s history.

So, the “becoming” of the Moldovan nation went through an aggressive intervention at many levels. From a political level, the colonization meant canceling a democratic institution and the instauration of a new ideology.6 As the main intention was to build a strong military and economic force, the soviet ideology meant a transformation and redirection of a whole society. From a societal level, it meant an instauration of a new set of beliefs that would facilitate the new ideology.

The way of redirecting a whole society was through political myths. Ionuț Isac writes about political myths and define them as a subjective belief that provides a common foundational belief system of one’s origins, identities and goals on both an individual and collective national level: “Political myth can be said to fix its 'referent' at a confluence of objective and subjective, reality and fiction, which makes it no "weaker" than an elaborate social theory or ideology, but even more powerful than them, when it comes to impressing and moving human communities and collectivities.”7 Political myths are not directly rooted in present reality, but instead they construct a future reality to make people act differently in a present, as if the constructed future already exists.8

  1. Boym, Svetlana, Common places: mythologies of everyday life in Russia, HARVARD UNIVERSITY PRESS, Cambridge, Massachusetts London, England, 1994, pp. 4.
  2. Jung, Soik, et al. “Tomorrow’s Myths - e-Flux.” E-Flux, May 2023, www.e-flux.com/architecture/tomorrows-myths/ . Accessed 12th January 2024
  3. Eliade, Mircea. Myth and Reality, Harper & Row, Publishers, vol. 31, planned and edited by Ruth Nanda Anshen, pp. 6.
  4. Bessarabia, was a historical region, names until 1918. Situated betwen Dniester from east side of the river and Prut on the west side. Today’s territory of Moldova and Ukraine.
  5. In 1859, Moldova united with Wallachia, establishing a new state under the suzerainty of the Ottoman Empire, United Principalities of Moldavia and Wallachia. In 1878 România was forced to cede the part of Bessarabia to Russian Empire. In 1918 Bessarabia and România regained its unity. From 1918-1940, Bessarabia was part of Greater România.
  6. Cașu, Igor,"Politica naţională" în Moldova Sovietică, 1944-1989/Nationalities Policy in Soviet Moldavia 1944-1989, Chișinău, 2000, pp 22.
  7. Isac, Ionuț. Political Mythology, Historical Mythology And Manipulation In Post-Totalitarianism. Historiographical Complexities In The Official Political Discourse Of The Republic Of Moldova, yearbook, of the George Barițiu Institute of History in Cluj-Napoca-Humanities Series 8:147-184.
  8. Isac, Ionuț. Political Mythology, Historical Mythology And Manipulation In Post-Totalitarianism. Historiographical Complexities In The Official Political Discourse Of The Republic Of Moldova, yearbook, of the George Barițiu Institute of History in Cluj-Napoca-Humanities Series 8:147-184.

Hyper-invisible

I would like to invite you on a short walk through the capital of Moldova, Chisinau. What we have in front of us is the highest monument in Chisinau of a hero. The hero of a former country that does not exist - Serghei Lazo. The monument is placed in front of a public park representing a mythological hero. Mythologies are cultural common places. recurrent narratives that are perceived as natural in a given culture, but in fact were naturalized and their historical, political, or literary origins forgotten or disguised.9 Sergei Lazo is an example of such a mythological common narrative.

Google map, screen record

The following lines are based on a documentary movie titled Lazo about Lazo as a mythological character from the Soviet Union:10

When the Soviets colonized Moldova, a set of symbols was invented to prove the existence of Moldovan national identity,11 but also to rewrite and demystify the local history and its heroes. To recreate a collective memory of the local history and demystify it. The country had to deal with an updated version of the present and to reimagine a past that served soviet ideals. Sergei Lazo is a character and person who was reconstructed as a hero and who is an example of such recreation. He suddenly became a “hero” that perfectly fitted into soviet mythology. I’m referring to soviet mythology as a soviet ideology that was promoted over the occupied land. In that recreation, he was suddenly dedicated to titles of a series of monuments, streets, museums, squares, institutions and factories all around the country.

Sergei Lazo. Source: www.noi.md

Lazo was born in Moldova into a noble family. During his studies in Sankt Petersburg and Moscow, he was active in revolutionary circles. Later he joined the Bolshevik forces and participated in the Russian Civil War. At the time, he was not very well known as a dominant figure. In the context of the Civil War, the Soviets had to come up with a solution to supplement the lack of dominant figures. So in the case of Moldova, the soviets made Lazo become a hero as part of a heroic war.

The legend says that Lazo was kept by the Japanese and burned alive. No documentary information could be found about this legend except for a few artistic proofs, which sustained the myth, but also left viewers with a nationalistic feeling of the past.

Fadeev, Aleksandeer. Tovarish Lazo govorit rech’. Comrade Lazo delivers a speech. Kak pogib Sergeĭ Lazo, Children's literature publishing house Moscow, 2nd edition, 1938.

One “proof” of the story was the novel titled Kak pogib Sergeĭ Lazo, translated as The Death of Sergei Lazo written by soviet novelist Aleksandeer Fadeev. The novel is supported by a series of illustrations of the war and has Lazo as a dominant figure.

Two other artistic proofs were two films commissioned by Moldova Film. One was the commissioning of Andrei Tarkovsky and Aleksander Gordon to make a future film about the national hero Sergei Lazo. Another one was The Life and Immortality of Sergei Lazo (1985) by V. Pascaru. Both films sustain the legend about Lazo as a national hero.

Film by Aleksander Gordon - Sergey Lazo (1968) - Moldovian SSR. Screenshot, source: https://www.youtube.com/watch?v=5WV0BQMVlCk&t=600s

In the public space, monuments and streets named after the new national hero were appearing. One example is in Chisinau, where the park Sergei Lazo was named after him.

In Russia nowadays, Lazo is not a hero anymore. The tragic death of Lazo and his life have recently been dismissed by researchers as “the country that made him a hero is no longer on the map.”12 Instead the symbol of the myth is still present in Chișinău.

On a decaying concrete platform, a monument reminds us that the myth is still with us, even when we do not recognize its face anymore. A standing hero morphing into the landscape as a blind spot in our memory. But how long can a myth keep living?

  1. Boym Svetlana, from Roland Barthes, Common places: mythologies of everyday life in Russia, HARVARD UNIVERSITY PRESS, Cambridge, Massachusetts London, England, 1994, pp 4.
  2. Rusu, Stefan,Lazo . Vimeo, 2005, vimeo.com/9576561#_=_. Accessed 19th January, 2024.
  3. Cașu, Igor, "Politica naţională" în Moldova Sovietică, 1944-1989/Nationalities Policy in Soviet Moldavia 1944-1989, Chișinău, 2000.
  4. ZloyStrelok. Sergey Lazo - Revolutionary Romanticist. Военное Обозрение, 7 Mar. 2014, en.topwar.ru/40986-sergey-lazo-revolyucioner-romantik.html. Accessed 20th January, 2024

Like The Fall of Icarus

Myths are sites of a shared cultural memory. They are of communal identification and affection; while they shaped the national imagination, they did not always correspond to actual everyday practices and people’s preoccupations.13

As part of creating a new collective identity, museums had to convey the myths as well. Right after the soviet occupation, all the existing collection works from the National Museum of Art of Moldova were loaded onto two wagons and shipped to Kharkiv in Ukraine. The existence of the works is still unknown today. The works in the museum were replaced by works donated by the Tretyakov State Gallery, Leningrad State Hermitage and A. S. Pushkin State Museum of Fine Arts in Moscow. To supplement the lost heritage, Moldovan Soviet Socialist Republic was funding museums to commission and purchase works of art.14

Lands and people (1975). Valentina Rusu-Ciobanu. The National Art Museum of Moldova

One of the works, acquired by the MSSR museum in the period of restoring the lost collection, was the painting Glie și Oamenii translated Land and People. A painting by Moldovan Valentina Rusu-Ciobanu. The work represents an image of the village during autumn in a period of harvesting. The village is equipped with the most modern achievements of technological progress, which shows the great ‘improvements’ made by the state of a colonized land.15 Happy looking workers dressed in perfect clothing, running tractors and electricity towers. They all become signs of how a communist party is fulfilling its duties. Duties of organizing working life and ensuring communal growth. An image of how everyone is happy to be a part of something bigger than themselves.

But this upgraded version of the Moldovan village isn’t that perfect.16 Formally, the artist painted it how the soviet party desired, but behind the formality, she still found a way to leave hints such as industrialization, mechanization and pollution of land pointing to something else symbolically. But in the end, the painting is an image of what the state wanted to see; a mythological image of a desired village.

Even though the painting was made according to the ideological formula, the artist was accused by the party for being too abstract and formalistic17, which meant the message was not clear enough and that it could produce additional meaning. The painting Land and People is just one example of how myths were used as a political tool.

  1. Boym Svetlana, from Roland Barthes,Common places: mythologies of everyday life in Russia , HARVARD UNIVERSITY PRESS, Cambridge, Massachusetts London, England, 1994, pp 4.
  2. Nicolaev, Gheorghe, File din Istoria Muzeului Național de Artă al Moldovei (1944-1990): Realizări și Impedimente. Revista De Istorie A Moldovei, vol. 3, Sept. 2016, pp. 71–95.
  3. Nagy Vajda, Victoria, editor. vol. 1, Arbor Institute for Culture, 2023, Valentina Rusu Ciobanu, http://www.valentinarusuciobanu.com/wp-content/uploads/2019/01/Catalog-raisonne.-Valentina-Rusu-Ciobanu_VOL.I.pdf, Accessed 2024.
  4. Idem.
  5. Cașu, Igor, "Politica naţională" în Moldova Sovietică, 1944-1989/Nationalities Policy in Soviet Moldavia 1944-1989, Chișinău, 2000.

Intertwine

Myths are considered a type of speech18. Roland writes that language needs specific conditions to become a myth19.Relating this to the history of Moldova, the historical conditions that affected the language can still be heard today.

To remind you; we are still in front of the park in Chisinau, where you can hear an intertwining soundscape of voices mostly composed of Romanian and Russian. What language do we speak? Moldovan or Romanian? And what is the difference? The answer to such questions is a political argument that goes back to 1991, where Moldova became independent. Let me start by pointing to the fact that we are filling the gaps in the Romanian language with Russian words, even after the declaration of independence and national movements of restoring the national language. In 2023, the Romanian language was constitutionally recognised as a national language of Moldova.

I don’t want to sound nationalistic, when I write about the effects of colonization and I do acknowledge how no language is unaffected by other languages, but Romanian language carries traces of Russian colonization, which do not originate within the language. The noises that are blending the speech are a trace of such history; forcing one language to translate itself into another. These noises are political embedded codes in our unconsciousness.

During the Soviet Union, language came to serve as a political tool, when it was used to strengthen the border and to isolate Moldova from Romania. It was a political tool, when it came to “erase any national local differences and to transform the whole body of the country, to a brotherhood nation which speaks the same language”. One example is how the Latin alphabet script was changed to Cyrillic one. When the language of the colony did not have enough shapes for sounds, they had to invent a unique new letter to transcribe the Romanian phonetics. For example with g, ge, ghe /dʒ/, they made the sound zhe with breve “Ӂ ӂ”.The moving towards Cyrillics meant taking part in the national development and homogenizing the whole culture into a land of brothers and sisters. This homogenization meant excluding minorities, as the whole culture was homogenized into a national one.

Overall, there is no difference between Romanian and Moldavian language. To see them as different is purely a political tool. The Romanian words were excluded from literature, as it could recall nostalgic feelings that the Soviet Union did not desire. Such feelings would mean uncertainty.

In 1950 linguists from abroad started studying the Moldovan language and found that “the only difference they could conclude was writing with Cyrillic alphabet and minor mutation in diphthongs and the backing of some vowels after hard consonants. Tagkivini described it as a mere “dogma of soviet linguistics”20. As such, any differences are minor.

In the text Land, Water and Commas from 198721 Ion Druta writes about how language was extracted similarly to the land, when the colonizer was cutting the language and modifying it to fit its ideology - similarly to within the painting of Lands and People, as land was extracted and modified to fit into soviet idealism. Differences might be minor, but the idea of a difference and the modifications themselves are still political. At 31th August 1989, the national uprising and the de-russification22 processes began, when Moldova reverted to the Latin spelling.

Gathering of Forntului Popular in Moldova in support of Latin alphabet and Romanian language, Chisinau, summer, 1989. Source: National Agency of Archive, Moldova

I don’t know why, but I still find it difficult to use words in my native language. There is a constant filter and restructuring of the meaning. Fear, anxiety, and hope to be understood. My language is intertwined between Romanian and Russian. Now such intertwinement is even more complex, as I speak and write in English too. I fumble with words, as silence and errors become my common space; a metaphor for resistance.

  1. Barthes, Roland. Mythologies. The Noonday Press - New York 2 Farrar, Straus & Giroux, 1991, pp.109
  2. Idem.
  3. King, Charles. The Moldovans: Romania, Russia, and the Politics of Culture. Hoover Press, 2013, pp. 112.
  4. Kak bolino. Obroshenie, pisma, statii. Chișinău, Literatura Artistica, 1989, pp. 7.
  5. De-russification is a process or public policy in different states of the former Russian Empire and the Soviet Union or certain parts of them, aimed at restoring national identity of indigenous peoples: their language, culture and historical memory, lost due to Russification. “Derussification.” Wikipedia, Wikimedia Foundation, 19 Jan. 2024, en.wikipedia.org/wiki/Derussification.

Into the noise

What are the characteristics of myths? Roland Barthes defines them as the transformation of a meaning into form.23 To give it a shape, as the meaning becomes a set of pre-designed signifiers. Within myths, meaning is never absent and any absence is considered noise. An example is informational entropy. It is a concept in physics and a metaphor in statistical analysis, which refers to the predictability24 of the message. A predictability as a calculation of information probability. The theory explains that information is structured in a set of possible answers that could cover all kinds of possible narratives. So the “freedom of choice” is actually a set of pre-designed choices. All possible errors are considered “noises”. The predictability of the constructed system helps to keep a control and understand the behavior of the system.25 In this way, myths become “naturalized”. Myths like to be in a shape that is steady and convincing. Everything outside such a form will be considered noise.

But nothing is perfect and we can’t avoid errors and gaps. Just as grammar works as a framework for language of correctness, myths also carry a grammar. When something is not according to the grammar, it is wrong and limited to A or B.

Uncertainty is what does not live up to the grammar. It is what’s considered noise. Noise becomes the refuse and a leftover generated by the process of information itself.26 Ray Brassier writes about noise in the article Against an Aesthetics of Noise. According to him, noise is more than an ambivalent object that relates to the true or false foundation. Insteads, it is a space where we can learn about our relation to information, as noise goes beyond the organized form of a system.27

In the book Listening Biennial, Daniela Medina Poch writes: “Listening allows a space for unlearning and relearning as listening requires being open towards what is being listened to.” As noise is what is refused by a dominant culture and everything outside myths therefore will be considered noise, to listen to such noise is a certain resistance, as noise allows a multitude of voices to speak together, when sound is an interconnected world and not a singular voice, as sound exists because of many relations within spaces and the relationship of cause and effect. As colonization is a voice that homogenizes by silencing the rest, decolonization instead should be focused on listening;28 not overshatter past voices, but to acknowledge those interconnections and a plurality of voices to co-exist.

But to listen does not only remain within sound, it is also a concept that can be applied to history, when listening becomes a form of attention. To pay attention to what surrounds one, not overshatter with a singular worldview and to be open towards the voices and opinions of others. Within these pages, listening has served as a method of looking upon patterns within history and how they resulted in shaping a present Moldova, from which I am from. To look beyond a singular voice of the Soviet Union and instead listen to the relationships of different interconnections that ended up shaping both the Moldovan language, myths and landscape. To listen is to pay attention. And to listen to what has been framed as noise outside a dominant system is an act of resistance.

  1. Barthes, Roland. Mythologies. The Noonday Press - New York 2 Farrar, Straus & Giroux, 1991, pp. 131
  2. Malaspina, Cecile, and Ray Brassier. An Epistemology of Noise. Bloomsbury Academic, 2018, pp. 27.
  3. Idem, pp. 116
  4. Idem, pp. 116
  5. Ieven, Bram, and Ray Brassier. “NY, against an Aesthetics of Noise.” nY, Tijdschrift Voor Literatuur, Kritiek & Amusement, 5 Oct. 2009, www.ny-web.be/artikels/against-aesthetics-noise/. Accessed february 22nd 2024.
  6. LaBelle, Brandon. The Listening Biennial Reader. Vol 1: Waves of Listening. Errant Bodies Berlin, 2023, pp. 68.

Conclusion

I would like to return to an initial question of: How can we identify the noises within past political naturalized norms?, as I believe it is important to recognize what we have now to understand where our culture is heading. Moldova is not a unique case. Through my chapters, I wrote to understand how it’s land that today is still covered in myths and stories. Myths and stories that were politically reformulated - just like the case of Lazo or paintings that are archived in institutions as crucial. To demystify myths weakens their power. And by knowing they are lies, they become a clean ground to build something new upon. The purpose is not to erase them from history, but the purpose is to change the perception of them as naturalized common grounds.

I see listening and noise as a political potential, as noise can be a form of resistance that is murmuring between us, but not heard. To listen to them is to accept them and be aware of them. Not only be aware of the noises, but also the doubts and the discomfort that unconsciously are resonating within our bodies. Listening to the noises is a way of understanding our present and geographical language. By tuning into them, we can build new narratives or at least rethink old ones. Noise are hints, when they speak through well-established myths to open up for their political frames.

Myths become vulnerable, when it is possible to find proof against them. Words and narratives can completely change the perception of not only a physical place, but also stay in a collective memory. Language is powerful, when abstract shapes and images end up being able to influence an entire perception of the human mind. By changing the perception of the human mind, the perception of the environment is also changed - resulting in letting everyone become participants of those actions. As we perform the myths and their language, they become our common beliefs - just like in the case of Lazo and the painting Lands and People. Or our language itself gets reshaped to fit into an ideology, as the writing system itself of Moldovan language was changed. But the change does not only stay written on paper. It ends up affecting societies and geographies.

Within graphic design as a builder of the visual, it is important to acknowledge such structures, as language is a key element within visual communication. It is a translation between words and images, but such a translation is never neutral, as language is not neutral. An example of the subjectivity of language is the case of Moldova. During the time of colonization, the writing system was changed to fit into an ideology of the Soviet Union. As graphic design is designing narratives for writing and translating between images and words, it is important to remember whose narrative one is translating. And whose structures one is designing for.

Returning to the topic of myths, myths are still alive today. They are still between us and their shadows can still be seen. To understand how myths work and how they have been used as political tools is an important act of decolonization. Nothing is singular and any errors and irregularities are hints worth listening to.

Bibliography

  1. Eliade, Mircea. Myth and Reality, Harper & Row, Publishers, vol. 31, planned and edited by Ruth Nanda Anshen
  2. Barthes, Roland. Mythologies. The Noonday Press - New York 2 Farrar, Straus & Giroux
  3. Boym Svetlana, from Roland Barthes, Common places: mythologies of everyday life in Russia, HARVARD UNIVERSITY PRESS, Cambridge, Massachusetts London, England, 1994
  4. Cașu, Igor, "Politica naţională" în Moldova Sovietică, 1944-1989/Nationalities Policy in Soviet Moldavia 1944-1989, Chișinău, 2000.
  5. King, Charles. The Moldovans: Romania, Russia, and the Politics of Culture. Hoover Press, 2013, pp. 112.
  6. Malaspina, Cecile, and Ray Brassier. An Epistemology of Noise. Bloomsbury Academic, 2018
  7. LaBelle, Brandon. The Listening Biennial Reader. Vol 1: Waves of Listening. Errant Bodies Berlin, 2023
  8. Kak bolino. Obroshenie, pisma, statii. Chișinău, Literatura Artistica, 1989
  9. Nagy Vajda, Victoria, editor. vol. 1, Arbor Institute for Culture, 2023, Valentina Rusu Ciobanu
  10. Nicolaev, Gheorghe, File din Istoria Muzeului Național de Artă al Moldovei (1944-1990): Realizări și Impedimente. Revista De Istorie A Moldovei, vol. 3, Sept. 2016
  11. Cox, Christoph, and Daniel Warner. Audio Culture: Readings in Modern Music. Bloomsbury Academic, 2019.
  12. Attali, Jacques, et al. Noise the Political Economy of Music. University of Minnesota Press, 2017.
  13. Bijsterveld, Karin. Sonic Skills. Listening for Knowledge in Science, Medicine and Engineering (1920s–Present). Palgrave Macmillan, 2019
  14. Waltham-Smith, Naomi. Shattering Biopolitics: Militant Listening and the Sound of Life. Fordham University Press, 2021.
  15. Voegelin, Salome. Listening to Noise and Silence:$btowards a Philosophy of Sound Art. Bloomsbury, 2013.
  16. Voegelin, Salome. Sonic Possible Worlds. Bloomsbury, 2014