Deja Vudu is a new composition by 2025 Wave Farm Radio Art Fellow Fabiana Gibim.

Deja Vudu is a sound collage from many different space-times, a resonance material of formless formations, signals without fixed origin, assembling an imaginary cartography of sound. Deja Vudu operates as a radio-archive-in-motion, where memory is metabolized: fragments circulate, decay, return, and recombine, producing a geography made of interference, vibration, and fugitive listening.

Working through sampling, transmission, and conversation, the piece treats radio as a porous membrane between archival debris and lived presence. Voices, field recordings, speculative broadcasts, cosmic sonifications, and sonic fiction are folded together to unsettle linear chronology and stable authorship. Rather than narrating history, Deja Vudu tunes into its residues, what lingers in static, hum, echo, and distortion, mapping how sound travels across borders, infrastructures, and bodies.

The archive privileges opacity over clarity. Political speech, experimental sound waves, research audio, and amateur recordings coexist without hierarchy, refusing the clean separation between art, theory, and noise. This is a practice of listening attuned to the eerie, the contracolonial, and the infra-sensible: sound as a carrier of unfinished thought, collective memory, and speculative refusal.

This piece is shaped by deep appreciation for the artists whose presence, time, and thinking animated the work. The exchanges with Kamari Carter, Kadallah Burrowes, Gladstone Deluxe, Celeste Oram, Gregory Whitehead, and Jay Needham took place in person at Fridman Gallery in New York and on Wave Farm's WGXC live on December 19, where dialogue, listening, and resonance unfolded as part of a shared nocturnal practice. If listeners would also like to engage with this work in written form, an upcoming article on the artists interviewed will be published in Resonance: The Journal of Sound and Culture.

Fabiana Gibim is a performance artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Indigenous Nation. Her work explores concepts of sonic art in relation to the epistemology of vibration. She is interested in radical archives—both sound and printed matter—and dedicates herself to creating imaginary archives that experiment with the concept of “formless formation.” She is also the editor and founder of the São Paulo-based radical press, Sobinfluencia, working collaboratively with over 200 contributors and having published over 40 books and more than 50 mixed-media posters. She is co-founder of the Nocturnal Lab, laboratory of investigations on sound and night.

Fabiana was a special curator at the Beinecke Rare Book and Manuscript Library at Yale, where she received the prestigious John D. and Rose H. Jackson Award for outstanding work in artistic curation. Her efforts culminated in curating the exhibition “Art, Protest & The Archives” at Yale from 2023 to 2024. In 2023, she was a finalist for the Prêmio Jabuti (the "Tortoise Prize"), the most traditional literary award in Brazil, given by the Brazilian Book Chamber (CBL), for her work as the editor of the first book ever written in history, the Mesopotamian long poem “Inana.” Currently, Fabiana lives between Brazil and New York, investigating sound, collage, radio work, and writing about sonic experimentalism.