shadow district is my field recording project, engaged in documenting the acoustic fallout of late capitalism: the dissolution of place, the erasure of cultural memory, and the commodification of the natural world. Working outside institutional structures and rejecting authorship as property, shadow district operates as a counter-archive—an ungoverned accumulation of sound fragments collected across borders, often in spaces shaped by extraction, abandonment, or ecological decay.

The methodology resists spectacle. Recordings are made in transit—between countries, in the shadows of gentrified cities, in landscapes marked by climate disruption, infrastructural collapse, or cultural dispossession. These are not pristine environments but contested zones: markets built on stolen land, forests on the brink of erasure, sacred spaces turned into tourist attractions. shadow district seeks to capture what remains when systems of power have moved on.

The work is grounded in a refusal of capitalist aesthetics: there is no narrative arc, no clean resolution, no sonic polish. Instead, each piece functions as a sonic palimpsest—layered, unstable, haunted by what has been lost. By foregrounding ambient noise, incidental sound, and disrupted patterns, the project foregrounds what capitalism treats as irrelevant: the overlooked, the broken, the decaying.

Influenced by anarchist geography, decolonial theory, and the ethics of non-extractive listening, shadow district reclaims field recording as a practice of witness and resistance. It is not preservation—it is confrontation. A political act disguised as a quiet one.

This is not art for consumption. This is evidence.