Session One


Kodwo Eshun is a theorist and artist. In 2002, he co-founded The Otolith Group with Anjalika Sagar. The Otolith Group works by looking in the key of listening across media, observing a research-based methodology that studies events, archives, movements, compositions, materials, performance, vocality, and space-time in moving and non-moving image, sound, music and text. Eshun is author of works such as Dan Graham: Rock My Religion (Afterall, 2012) and More Brilliant than the Sun: Adventures in Sonic Fiction (Quartet Books, 1998/2025), and co-editor, with Anjalika Sagar, of The Ghosts of Songs: The Film Art of the Black Audio Film Collective (Liverpool University Press, 2007) and co-editor, with Antje Ehmann, of Harun Farocki. Against What? Against Whom? (Raven Row, 2009). Eshun is lecturer at the Centre for Research Architecture at Goldsmiths, University of London and Professor of Visual Arts at Haut Ecole d’art et design, Geneve. 


Louis Henderson is a filmmaker and writer who experiments with different ways of working with people to address and question our current global condition defined by racial capitalism and ever-present histories of the European colonial project. Henderson‘s films and installations are shown regularly in various international film festivals, art museums and biennials and are distributed by LUX and Video Data Bank. His writing has been published in both print and online in books and journals. At present, Henderson is a doctoral candidate at the École Nationale Supérieure d‘Arts de Paris-Cergy. His research looks into the riverscapes of the East of England and Guyana through “spiral retellings” of the works of Wilson Harris and Nigel Henderson.


A global practitioner of sound, language, and Black Atlantic thought, Lynnée Denise is an Amsterdam-based writer and interdisciplinary artist from Los Angeles, California. Shaped by her parent’s record collection and the 1980s, Denise’s work traces and foregrounds the intimacies of underground nightclub movements, music migration, and bass culture in the African Diaspora. She coined the term DJ Scholarship in 2013, which explores how knowledge is gathered, inter- preted, and produced through a conceptual and theoretical framework, shifting the role of the DJ from a party purveyor to an archivist and cultural worker. A doctoral student in the Department of Visual Culture at Goldsmiths, Denise’s research contends with how iterations of sound system culture construct a living archive and refuge for a Black queer diaspora. She just published her debut book, Why Willie Mae Thornton Matters (the University of Texas Press), a narrative journey of reclamation that intricately details and humanizes the full life, musical contributions, and cultural impact of Willie Mae Thornton.