PhD Academic Research. Three Texts [As a Russian doll]
My research explores electronic music, rhythm, and audiovisual performance as political, relational, and embodied practices from a situated, decolonial perspective. In my PhD dissertation, A (Broken) History of Brown Techno and Rhythm as Contact (UAM, 2022), I analyze techno and dance culture as a space for brown and queer counter-narratives that challenge Eurocentric and sex-normative frameworks, using DJ logic, sonic archives, and curatorial practice as methodological tools. Earlier works include The Digital Cumbia Community (MA thesis, 2013), which examines digital cumbia as a translocal, politically charged collective practice shaped by its modes of production and distribution, and Performative Languages and Real-Time Practices (BA thesis, 2009), focused on VJing as a performative, relational form rooted in video art, live montage, and audiovisual synchronization. Together, these texts articulate a long-term inquiry into sound, rhythm, and audiovisual practices as forms of cultural agency and social transformation.

YOU GOT TO GET IN TO GET OUT

chapter (La Casa Encendida editions)

I contributed a chapter to the collective book You Got to Get In to Get Out, a publication born from the long-term curatorial research project YOU GOT TO GET IN TO GET OUT. The never-ending sound continuum, initiated by Sonia Fernández Pan and Carolina Jiménez for La Casa Encendida and centred on the cultural, social and material dimensions of techno and the dance floor. The book brings together critical essays by a diverse group of authors including Tony Cokes, Carolina Jiménez, Matthew Collin, Frankie Decaiza Hutchinson, Magui Dávila, DeForrest Brown, Jr., Mateusz Szymanówka, Gavilán Rayna Russom, Sergi Botella, Cio D’Or, Tara Rodgers, Enrique Mena, Miguel Ángel del Ser, Sonia Fernández Pan and Kentaro Terajima, among others.

In addition to writing for the book, I led a guided tour of the YOU GOT TO GET IN TO GET OUT exhibition, engaging audiences with the show’s themes and the interconnected practices of the participating artists as they reflect on rhythm, experience and techno culture.

UPCOMING: Resistencias musicales. Ensayos sobre memoria, raza y prácticas queer

Compendio de ensayos fruto de las investigaciones llevadas a cabo en el marco del proyecto MÚSICA POPULAR URBANA Y FEMINISMOS EN ESPAÑA: ESTRATEGIAS, CONFLICTOS Y RETOS DE LAS MUJERES EN LAS PRÁCTICAS MUSICALES CONTEMPORÁNEAS (2000-2023) - PID2020-116455GB-I00192

Edita: Universidad de Jaén (UJA)

Electronic music talks

I'll be participating in the program “Who Needs a Rave? Dance Cultures,” part of Sonido Futuro. Half a century after its emergence, electronic music continues to claim its place as the sound of the future. From the rise of techno in industrial Detroit to house music in Chicago’s underground clubs, a wide range of genres, experiences, and subcultures have shaped decades of artistic, cultural, and social evolution, reaching today a renewed momentum and growing popularity.

In celebration of the centenary of its building, the Círculo de Bellas Artes, through its thematic line “Futures of the Past,” proposes a historical approach that moves beyond nostalgia or uncritical celebration, seeking instead the canceled possibilities and invisible tendencies that may point toward a hopeful future. In this context, Ruidoso Futuro aims to carry out a sonic archaeology of electronic music, illuminating unfulfilled promises and buried potentials within one of the most disruptive musical phenomena of the recent past.

The session brings together Marta Echaves, cultural programmer and philosophy researcher; Ana Gorostizu, researcher and writer specializing in sound and electronic music; and myself, Magui Dávila (laslindaspobres), an artist and editor working between electronic music and sonic self-publishing. The discussion will be moderated by Pepe Tesoro, philosopher, editor, and researcher in electronic music, and will combine theoretical debate and artistic experimentation to reflect on the collective, political, and utopian dimensions of electronic music and its possible futures.

CLUB DE LECTURA CON CAJA NEGRA EDITORA

at Para lel 62 Barcelona

A few months ago, I took part in a session for the reading club of Raving by McKenzie Wark, published by Caja Negra. In that context, I worked with one and three Nike Air Pipas, reactivating necessary conceptual meanings rooted in the street. It was not a voice speaking in unison, but a sequenced reading in dialogue with Wark.

W/ Aïda Campurubí, Joven de la Perla, Las Lindas Pobres aka Magui Dávila y Marta Echaves

My conference as named: The feminist suitcase of records and a (broken) history of brown t3chno / La maleta feminista de discos y una historia (rota) del t3chno m4rr0n