Ieva Gudaitytė

• Gudaitytė, Ieva (2025). Listening to alternative histories through independent sound media in Ukraine. Baltic Worlds. ISSN 2000-2955. 18(3), s. 82–92. doi: https:/balticworlds.com/listening-to-alternative-histories-through-independent-sound-media-in-ukraine/. Fulltekst i vitenarkiv
• Gudaitytė, Ieva (2024). Gasoline Radio. Gasolineradio.com. Online radio station. Kyiv, Ukraine. Slavic Review: Interdisciplinary Quarterly of Russian, Eurasian, and East European Studies. ISSN 0037-6779. 83(3), s. 613–614. doi: 10.1017/slr.2024.448. Fulltekst i vitenarkiv
• Gudaitytė, Ieva (2026). Listening to War Through Digital Community Radio Practices in Ukraine and Beyond. Universitetet i Oslo. Fulltekst i vitenarkiv Vis sammendrag

  This thesis investigates, through interviews as well as broader fieldwork, how people listen to and make sense of their lives at war through digital community radio and its broader practices in Ukraine and beyond. With a focus on radio stations in Kyiv (20ft Radio, Gasoline Radio), their collaborators in Berlin (Cashmere Radio) and Warsaw (Kapitał Radio), in addition to other related cultural institutions, it examines how musicians and semi-professional music enthusiasts mobilise around a variety of radio-related sound practices to meaningfully engage in public cultural life through listening, and why such practices are a suitable way for them to do so at war. Concentrating on the first two years after Russia’s full-scale invasion of Ukraine in 2022, the thesis starts by asking what happens to such small, niche, non-commercial radio stations and their team members at war. It then delves deeper into the diverse ways in which people listen to war and communicate their wartime experiences through radio shows, events, sound installations, records, radio plays, and other formats related to radio media. The thesis conceptualises the radio station as having a dual function. Firstly, as a site for people to gather and collectively make sense of their changed realities through sound. Secondly, as a channel for sharing the complexity and ambivalence of living and listening in wartime to a broader audience. Radio media thus becomes a way to regain agency in otherwise precarious conditions and to express that agency through aural knowledge production and transfer. In this context, questions emerge of epistemic justice, collective responsibility, and moral dilemmas around sonic entertainment in war. Their examination offers a way to better understand the complex experiences of wartime through sound, which include violence, trauma, and hope, but also frustration, boredom, and curiosity.

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