Evidence of Yesterday | Updated Daily : 2022-2023 [2013-21 NOT ARCHIVED]


Date: 4.20.2023
Lcoation: Eaton Hotel at Eaton Radio

Health - + : Sunday Love Edition
Location: Flash
Date: 4.24.2023
Show Details:




The Wild Dandelion

This artwork is a tribute to the Valerie Monroe whose is the foundational reason why the album Manyara was created as a tribute to the time that we shared together before her passing. Her passion for plants and nature was evident in everything she did, from her career to her personal life.

But among all the flowers and plants she studied, it was the wild dandelion that held a special place in her heart.During my time of being in her presence, she marveled at Wild Dandelions ability to thrive in the toughest conditions and saw beauty in its simple white blooms.

Even as her health declined due to cancer, she found comfort in watching the dandelions dance in the breeze outside her window. The audio that you'll hear in this peice is a plantwave recording of the wild dandelions that was recording on my recent trip to Texas during the pandemic. I've went back to the home where we use to live in San Antonio. the wild dandelion still live on the property.

A Sense of Time is available

The DC Arts Center, located in the heart of Adams Morgan, is proud to present the first exhibition of the 2023 Curatorial Initiative, A Shared Sense of Time, curated by Jeffry Cudlin and assisted by apprentice curators Benedetta Castrioto and FAITH (Eleisha Faith McCorkle). The exhibition features Sara Dittrich, Ledah Fincke, Imka, Amy Reid, Davis Sailsbury (Dais Queue), Joana Stillwell. The exhibition brings together six DMV-based visual artists and musicians who use unique rhythms and concepts of tempo to create disorienting, altered states of consciousness.

The featured artists use field recordings, found biological rhythms, or rules-based improvisation to create extraordinary aesthetic experiences out of ordinary, everyday phenomena. The exhibition encourages visitors to engage in a process of exploration, much like author V.S. Naipaul’s description of “finding experience where I thought there had been nothing.” Through their innovative use of rhythm, sound, and image, the six featured artists in A Shared Sense of Time creates a dynamic interplay between the domestic and natural worlds, inviting visitors to contemplate their place within the larger scheme of things.

Program Manager Jerry Truong explains, “In working with Jeffry to organize this exhibition, I was drawn to his commitment to seeking out artists who are not only working in a conceptually challenging way, but also pushing the envelope in terms of interactivity. We hope that visitors to this show will discover a unique and captivating experience.”

“Jeffry is expanding the ways in which our patrons and audiences experience art in the District by bringing together a multitude of art forms,” said Executive Director Sean Elias. “Just as we, here at The DC Arts Center, continue to expand our programming and offerings to foster underrepresented artists in as many artistic disciplines as possible.”

Join them in celebrating the opening of A Shared Sense of Time on Friday, April 21, 2023 at 7:00 PM. The exhibition runs through May 21, 2023.

Samson Binutu and Calvin Klein #MyCalvinsModel: Magdalena Bednarczyk

Director / DP / Edit - @samsonbinutu
Talent: @magsbednarczyk
Stylist: @styledbybee.smith / @bee.smith
Score: @officialimka
Color : @kyledeitz
PA: @jamardpjones


They’re Performing Infrastructures [by Imka]

Perspectives shape our understanding of what constitutes infrastructure. Anything that facilitates movement between institutions or systems and enables broader societal processes can be considered infrastructure. These dynamic junctions are deeply ingrained in our daily lives and often only become apparent when they fail, causing disruptions and revealing the complex circulation and distribution of monetary, social, or cultural capital. Infrastructures are not only relational but also play a fundamental role in reproducing and representing the grand ideological structures that shape our existence. Performing Infrastructures explores how cultural performances, such as speech acts and collective choreographies, function as infrastructure and regulate social participation by organizing movement.

This perspective highlights the ways in which cultural performances not only reflect but also help to shape social structures and power dynamics.

In the context of multimedia, where artists may not be treated fairly in comparison to individuals in different positions, the concept of performing infrastructures can be particularly useful. Multimedia infrastructures, such as social media platforms and digital distribution networks, can enable or restrict artists' ability to reach audiences and generate income. These infrastructures can also reinforce existing power dynamics by privileging certain voices or perspectives over others.

For example, social media platforms may algorithmically promote content from already established artists or those with a large following, while relegating emerging artists to the margins. Similarly, digital distribution networks may prioritize content from major labels or established artists over independent creators. These infrastructures can perpetuate inequalities in the music industry and limit opportunities for diverse voices to be heard.

Understanding the role of performing infrastructures in multimedia can help to identify and challenge these power dynamics. By examining the ways in which cultural performances can function as infrastructure and shape social participation, it is possible to develop alternative infrastructures that better support artists and promote greater equity in the industry. This may involve developing new platforms or networks that prioritize diverse voices and provide fair compensation for artists, or working to reform existing infrastructures to better serve the needs of all members of the industry.

[How can we fix this?]

There are several ways to address the issues of inequality and unfair treatment of artists within the multimedia industry. One potential solution is to create alternative infrastructures that prioritize the needs of artists and promote greater equity in the industry. These infrastructures can be developed by independent organizations or through collaborations between artists, industry professionals, and community stakeholders.

One approach is to develop new platforms or networks that provide fair compensation for artists and prioritize diverse voices. This could involve creating streaming platforms that are owned and operated by artists, or developing cooperative networks that provide resources and support for independent creators. By developing these alternative infrastructures, artists can take greater control over their work and gain greater visibility and access to audiences.

Another approach is to work within existing infrastructures to promote greater equity and fair treatment of artists. This could involve advocating for policy changes that protect the rights of creators and promote greater transparency and accountability in the industry. For example, artists could push for legislation that requires streaming platforms to pay fair royalties or for record labels to provide greater transparency around their compensation models.

Finally, it is important to raise awareness about the issues facing artists in the multimedia industry and to build solidarity and support networks among creators. This can be done through artist-led campaigns and grassroots organizing efforts that bring together artists, industry professionals, and fans to advocate for change and promote greater equity in the industry. By working together, artists can build a more sustainable and equitable multimedia industry that supports the needs and aspirations of all creators.

[How important are multimedia roles to a company?]

Multimedia roles are essential to the expansion of a company in today's digital age. They enable companies to create and distribute content across various platforms, from social media to streaming services, and engage with audiences in new and innovative ways. However, to truly leverage the power of multimedia, it is crucial to trust the artist and give them creative control over the content they produce.

Trusting the artist is important for several reasons. First, artists bring unique perspectives and creative ideas to the table, which can help companies differentiate themselves from their competitors and connect with audiences in meaningful ways. By giving artists the freedom to express themselves and take risks, companies can develop content that is fresh, exciting, and resonant with their target audience.

Second, trusting the artist can help companies build long-term relationships with creators and foster a culture of collaboration and innovation. By treating artists as partners rather than contractors, companies can develop deeper connections with their creative teams and cultivate a sense of ownership and investment in the work they produce.

Finally, trusting the artist is essential for building trust and authenticity with audiences. In today's media-saturated world, consumers are increasingly skeptical of corporate messaging and are looking for authentic, meaningful connections with the brands they support. By working with artists who have a genuine passion for their work and a deep connection to their audience, companies can build trust and credibility with their customers and create a more sustainable and meaningful relationship over time.

In conclusion, multimedia roles are vital to the expansion of a company, and trusting the artist is essential to unlocking the full potential of this medium. By giving artists creative control and treating them as partners rather than contractors, companies can develop content that is fresh, exciting, and resonant with their target audience, build long-term relationships with creators, and foster a culture of collaboration and innovation.

A deep listening, or auditory perception, is a skill that's easy to neglect in our fast-paced world" suggests that in our modern society, people tend to prioritize speed and efficiency over truly experiencing the world around them. "Deep listening" refers to a more intentional and immersive way of experiencing sound, in which the listener actively engages with the sensory information and pays attention to its emotional and psychological impact. In other words, deep listening involves listening not just with the ears, but with the whole body and mind.

The concept of a "soundbath" or multi-sensory performance suggests that Imka's work is designed to create an immersive and engaging experience that stimulates the senses and encourages deep listening. The use of live soundscapes generated from the scientific aspects of plants' phenologies in real-time is a unique way of creating a soundscape that is organic and natural, while also being scientifically informed.

Imka's approach to using plants as instruments suggests a deep respect for the natural world and a desire to connect with it on a profound level. By cultivating and observing the plants, Imka is able to translate their signals into sound, creating a unique musical experience that is intimately tied to the natural world.

Overall, Imka's work emphasizes the importance of slowing down and truly experiencing the world around us, rather than simply rushing through life.
By encouraging deep listening and building conceptual frameworks around intimate and personal encounters, Imka's work seeks to inspire a deeper connection with the world and the people and things in it.

︎︎︎Listen and Share on Bandcamp


Since at least the 1970s, artists have composed music for plants. From Mort Garson’s Plantasia to dublab's Plant Music compilation, albums recorded with nature in mind often intend to stimulate growth or simply entertain leafy creatures. This episode of Source Material, a documentary-style series, explores the symbiotic links between electronic music and house plants.Diving into the world of frequencies and root systems, RA's Martha Pazienti Caidan speaks to various experts to learn how nature responds to ambient tunes and synthesisers.

Among them are biotherapeutic musician Imka, Joe Patitucci of PlantWave, an app that translates plants' biorhythms into music, sound artist Karine Bonneval and composer Erland Cooper.To discover how bass frequencies mimic bees and why festivals are adopting sonic soil pollution, listen to the episode,



COMPANY: Crue Films and Virginia Department of Behavioral
Health and Developmental Services

TITLE: Activate Your Wellness

TITLE: A Legacy of Movement

Solar Eclipse with Sir. Eu

Contact Imka for Evidence of Yesterday 



Street Photography: No Trump Protest in Washginton, D.C

Studio Photography: James Scott

Paperhaus : Told You What to Say
Video and Graphics

Client: Misra Records
View Music Video on Youtube

In Tikuna cosmology, humans were created from plants, they are one and the same. The Wone tree, the Ceiba pentandra, is regarded as the tree of life and the Genipa americana a sacred fruit which formed part of the creation of the first people. In the Tikuna creation myth, the landscape is inhabited by beings of all forms, human, non-human and vegetal.

[3D Image by Imka]

Abel Santos is a Tikuna anthropologist and linguist from the Colombian Amazon who grew up with Tikuna elders and has dedicated his professional life to investigating Tikuna cosmology and preserving the language by working across communities in the Amazon. Abel has given us permission to translate some of his work exploring the Tikuna creation myth and the role of the Ceiba pentandra and Genipa Americana, or ‘Wone’ and ‘Huito’.

The land was completely dark, the Wone tree covered it, covered it with its leaves, its huge roots and thick trunk. The woven branches and leaves did not allow the light of the world above to pass through. In this land lived immortals, and twin brothers Yoí and Ípi, the sons of Ngṵtapa (the first immortal created by Mowíchina, who was destined to create mortal beings).

The brothers decided to cut down the Wone tree to bring light to the world. As the tree fell it created the Amazon river and the branches its many rivers. The tree did not want to die, the brothers had to remove its heart; upon pulling it out, several immortal beings stole Wone's heart. The last to snatch it was tintin (Myoprocta acouchy), who stowed it on the top of Mount Woruapü; and from the heart grew the umarí tree (Poraqueiba sericea). In time it bore fruit; the last fruit to fall became a woman, Ariana, who would be Ipi’s wife.

Yoí was the wiser of the two brothers and Ípi the mischievous one. Yoí wanted to hide his wife from Ípi and he placed her inside a flute. When Ípi discovers Ariana, he impregnates her against her will and Yoí punishes him by sending him to find the huito fruit so that the new-born child can be painted and purified. The brothers went to look for huito, Ípi went up to the bush to pick green huito fruits. When Ípi began to grate the fruit, he also grated himself and was incorporated into the huito mass. Yoí squeezed this mass, took out the huito juice, and threw the mixture, which contained Ípi's meat, into the Yḭtaküchiü̃ stream. This mixture reached the Amazon river, and there it was transformed into fish. Ípi also transformed into a fish; his forehead was shiny, because it had been struck with gold in the depths of the Amazon River.

Yoí's son was smeared with the juice of huito and was bathed with the water of Yḭtaküchiü; for this reason, nowadays new-born Tikunas are bathed and painted with huito, to protect them from diseases and other diseases of nature; and to be able to grow and acquire Tikuna knowledge and wisdom.

At the end of a lunar cycle, Yoí waited for it to rain and the creek to grow, which was the colour of indigo due to the mixture of huito. From that moment on the lake was called Eware, which means painted huito, huito waters. As the creek grew, the fish came up from the mouth of the Amazon River and entered the Eware creek, where Yoí waited to fish. He and Ariana got ready to fish. Those who came out of the water, upon hitting the ground, were transformed into people, into yunatü. When the fish touched the land, they were immediately turned into humans.

The Tikunas name and read the earth's surface as parts of the human body. A plant has nachaküü (arms), náchinü (buttocks), naparà (legs), maüñe (heart), nàpaküü (armpits), nátamü (between the leg), and others. The surface of the earth has nakawḛ (back), nátaneka (belly), nátapṵ̈ (chest), naerù (head), náetü (eyes), nakütá (legs). The Tikuna see in the beings of nature a body with the same characteristics and qualities of the human, because before they were people and now, they continue to be.

This track has been created as part of an ongoing cross-disciplinary collaboration - ROOTS -between Abel Santos, filmmaker Camilla French and Jemma Foster exploring person-plant relations via the Tikuna creation myth. Jemma took recordings of the Ceiba pentandra in the Amazon rainforest using a device that measures biodata - electromagnetic fluctuations between the leaves of plants - and converts them into MIDI code. Sound designer Imka then analysed the recording as being in the tone of A minor.
Using this scale, he added a compilation of real and virtual instruments to create the soundscape for the track, along with handmade automation for pressure, pitch slide, attack, release, sustain, along with other devices to control the notes being printed in real time. This was then integrated with the audio recordings of Abel Santos, narrating the Tikuna myth of the Genipa Americana. Abel’s wish is for this track to preserve the knowledge of the elders - many of whom have been wiped out by Covid 19 - and to encourage younger Tikuna to learn their ancestral language. 

The result is a new musical language that transcends species boundaries and honours shared person-plant origins.  The accompanying digital artwork is a 3D render created by Imka using plant based extensions to convey a representation of the shared life force - known in Tikuna as du-ügü - of people and plants, as the huito fruit and the human heart.