El pasado 31 de junio salió el N° 56 de la revista académica Resonancias de la Universidad Católica, en el cual varios integrantes de CMUS contribuyeron con publicaciones: el dossier “Ecologías sonoras desde el Antropoceno latinoamericano” tiene la firma de Daniel Party y Luis Achondo. The text reads: “The four documents that comprise this dossier address anthropocentric tensions in the practice of plant sonification, masculinized forms of listening to non-human entities in the Patagonian environment, auditory ethics in Amazonian lands, and the resonant nature of the Mapuche universe.” Luis Achondo himself also contributed an article for this dossier called “Resonant Wallmapu: More-Than-Human Significance in Mapuche Sound Ecology” “Wallmapu resonante: significación más-que-humana en la ecología sonora mapuche” where he wrote “The Mapuche worldview conceives of the Wallmapu as a resonant universe. As the newen vibrates sonically on diverse existential planes, the sustainability of the itrofill mongen is based on the expression, perception, and signification of the distinct forms of dungun, the varied vocal resonances of the earth. Relating to and learning from non-humans and more-than-humans requires an auditory disposition toward the diverse sonic signs produced by the different species, spirits, and forces that comprise the itrofill mongen. This co-produced semiotic resonance allows us to conceive of Mapuche reality as inherently resonant.”

En otro apartado de la revista, Javier Rodríguez aportó con la reseña para el libro Bring us your kingdom of justice and equality. Messianism and New Chilean Song by musicologist Pablo Rojas. He highlights: “Among the main contributions of this book is the way it complicates the general picture of the link between the religious dimension and political song. Building on previous works (Vilches 2011; Guerra 2014), Pablo Rojas delves deeper into this relationship, drawing on the category of messianism. Focusing on this category is both original and intelligent, as it allows us not only to concentrate the theoretical framework on a defined corpus of concepts, but also to narrow down the corpus of songs to be analyzed (which otherwise might have overflowed the book).”