Daniela Cascella (Italy/UK) is an Associate Lecturer on MA Sound Arts at London College of Communication. She is a writer and editor and her work is concerned with forms and transformations of critical writing that inhabit, echo and are haunted by their subjects: literature, voices, concealments of the self.
Writing in English as a second language, writing as a stranger in a language, she is drawn toward unstable and uncomfortable forms of writing-as-sounding, and toward the transmissions and interferences of knowledge across cultures.
Daniela is the author of five books in English that articulate various tensions and points of contact between the literary and the sonic, and that propose a range of approaches to creative-critical writing through experiments with form, voice, and ways of reading: Nothing As We Need It (Punctum Books / Risking Education, 2022), Chimeras: A Deranged Essay, An Imaginary Conversation, A Transcelation (Sublunary Editions, 2022), Singed. Muted Voice-Transmissions, After The Fire (Equus Press, 2017), 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).
She is a Programme Tutor in the Art Writing MLitt at the Glasgow School of Art, and between 2021 and 2022 she was a Commissioning Editor at MAP Magazine.
In 2022, Daniela was awarded a Ph.D. in Fine Art and Design from Sheffield Hallam University, where she undertook research around the idea and practice of 'chimeric writing'. She holds an MA in Art Writing from Goldsmiths, University of London.
Daniela's writing has been published in books and exhibition catalogues internationally, on University of Edinburgh Press, Koenig Books, Errant Bodies Press, raster-noton among the others; and in art, music, and literary journals such as The Los Angeles Review of Books, Music & Literature, 3:AM Magazine, Reliquiae, Gorse, The Wire, Organised Sound, The Journal of Sonic Studies. She was a contributing editor at minor literature[s] where she initiated and edited (2016-18) a new section called Untranslated.
Her research often expands beyond the book format into performances, audio pieces, curatorial and editorial projects and collaborations with artists, writers, and musicians.
Between 2013 and 2018 she was Assistant Professor in Writing in the MA Fine Art at the University of Bergen, Faculty of Fine Art, Music and Design. She was a Research Fellow in the School of Arts at Oxford Brookes University (2013-2015) and has taught a workshop on Sound, Listening and Language in the MFA Fine Art, Goldsmiths University of London (2014-2016).
Daniela has spoken at conferences and has taught internationally, at the School of the Art Institute of Chicago, the Piet Zwart Institute Rotterdam, the Royal College of Art London, University of Oxford, University of Copenhagen, University of Cambridge, Royal Conservatoire The Hague, Tate Britain, Arnolfini among others.
Prior to her move to London in 2009 Daniela worked in Rome, Italy as an art critic 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 Italy's leading music magazine Blow Up, for which she wrote a monthly column on sound and the arts as well as articles and reviews on experimental music.
View the MA Sound Arts course page.