In this episode, Megan Eardley interviews the writer and artist Bryan Finoki. He describes how he came to study the security industry and reflects on his process of harvesting his own field recordings, synthesized sounds, and files scraped off the web, to make Dark Freqs, an original sound composition produced for Attention and this issue on Detective Work.

  • “Finoki tried to formulate language that could capture how U.S. investments in artificial intelligence and bio engineering have produced “fanged landscapes” that can consume and destroy the world around us.”

  • “What is suspicion as a producer of space, and what would that sound like?”

  • “I wanted to play with some ambiguities about inner and outer edged space.”

  • “We wanted to find our own way of documenting urban change, and the politics that get encoded by that insidiously; and the different ways that the public is disappearing or reasserting itself in these edges and lines; how privacy has become the colonizer of space.”

  • “What does sound mean? What is this relationship between space’s production of the political, and the political production of space?”

  • “You’re not seeing exactly what you are always hearing, and you’re always not sure what you’re even listening for.”


Ethan Curtis, Arianna Corradi, and Joseph Bedford

Issue Guest Editor
Megan Eardley

Senior Editors
Joseph Bedford and Curt Gambetta

Trudy Watt

Bryan Finoki

Megan Eardley