How can we engage politically with the exclusion of specific (female) voices from the public sphere through our own voice? Here I document my attempts to create a safe common space of discussing that topic in Leeszaal, that I consider a diverse public space, where we can explore our public voices in situ, and trying out vocal performances. I am doing that together with Christina Karagianni, who is also from Greece and with whom I share similar experiences of silencing. We combine our practices -her practice lies on choreography and mine on social interaction and sound- and try vocal exercises and reading in moments of Leeszaal. Structure of the meetings: reading extracts in random order, discuss peronal associations, warm up, say a personal sentence in any language, transcribe only the vowels, read back the vowels, sing all together the score of vowels.
How can we engage politically with the exclusion of specific (female) voices from the public sphere through our own voice? Here I document my attempts to create a safe common space of discussing that topic in Leeszaal, that I consider a diverse public space, where we can explore our public voices in situ, and trying out vocal performances. I am doing that together with Christina Karagianni, who is also from Greece and with whom I share similar experiences of silencing. We combine our practices -her practice lies on choreography and mine on social interaction and sound- and try vocal exercises and reading in moments of Leeszaal.<divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">We invite <divclass="tooltip-content-right"><div>how we should approch the gender terminology and false association with voice when inviting people? Should it be about femme sounding? Female voice? </div></div></div>women from Leeszaal. Structure of the meetings: reading extracts in random order, <divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">discuss <divclass="tooltip-content-right"><div>what conflicts or frictions the technical aspect provokes?</div></div></div>personal associations and experiences with voice in public, warm up, say a personal sentence in any language, transcribe only the vowels, read back the vowels, sing all together the score of vowels.
<aclass="internet"href="https://www.youtube.com/watch?v=SirOxIeuNDE"target="popup"onclick="window.open('https://www.youtube.com/watch?v=SirOxIeuNDE','popup','width=600,height=600'); return false;">Laurie Anderson - Mach 20</a>
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<aclass="internet"href="https://www.thisamericanlife.org/667/wartime-radio"target="popup"onclick="window.open('https://www.thisamericanlife.org/667/wartime-radio','popup','width=600,height=600'); return false;">Ballout, D. (2019) ‘Good Morning, Kafranbel’, This American Life: Wartime Radio</a>
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<aclass="internet"href="https://www.youtube.com/watch?v=TY96Ma6YdtQ"target="popup"onclick="window.open('https://www.youtube.com/watch?v=TY96Ma6YdtQ','popup','width=600,height=600'); return false;">Vocal performance of Katalin Ladik in the film ‘Berberian Sound Studio’, 2012</a>
<aclass="internet"href="https://www.youtube.com/watch?v=SirOxIeuNDE"target="popup"onclick="window.open('https://www.youtube.com/watch?v=SirOxIeuNDE','popup','width=600,height=600'); return false;">Laurie Anderson - Mach 20</a>
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<aclass="internet"href="https://www.thisamericanlife.org/667/wartime-radio"target="popup"onclick="window.open('https://www.thisamericanlife.org/667/wartime-radio','popup','width=600,height=600'); return false;">Ballout, D. (2019) ‘Good Morning, Kafranbel’, This American Life: Wartime Radio</a>
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<aclass="internet"href="https://www.youtube.com/watch?v=TY96Ma6YdtQ"target="popup"onclick="window.open('https://www.youtube.com/watch?v=TY96Ma6YdtQ','popup','width=600,height=600'); return false;">Vocal performance of Katalin Ladik in the film ‘Berberian Sound Studio’, 2012</a>
<p>I recorded sounds from West Rotterdam, while walking around a neighborhood for several days. This action was part of my first experiments when I was in attempt to understand how gender binaries regarding voice are reflected in space, especially public space.
<div><adata-start="28.88"href="#">00:00:28,880</a> Oh, that's... It sounds like there is something clapping or like hitting against a surface</div>
<div><adata-start="38.52"href="#">00:00:38,520</a> And it's very repetitive sound</div>
<div><adata-start="46.6"href="#">00:00:46,600</a> Oh, I can hear some, some radio or some music or broadcast</div>
<div><adata-start="60.2"href="#">00:01:00,200</a> That was too short. I don't know [chuckling]</div>
<div><adata-start="64.44"href="#">00:01:04,440</a> Oh, it's quite loud. It's... Maybe it's in some kind of transport</div>
<div><adata-start="76.22"href="#">00:01:16,220</a> Oh, there is a child speaking</div>
<div><adata-start="85.74"href="#">00:01:25,740</a> There are people talking outside... In a foreign language</div>
<div><adata-start="96.28"href="#">00:01:36,280</a> It's not Dutch and there is some wind</div>
<div><adata-start="102.32"href="#">00:01:42,320</a> There are more people talking</div>
<div><adata-start="112.76"href="#">00:01:52,760</a> Oh, there is sounds like there are construction works</div>
<div><adata-start="116.72"href="#">00:01:56,720</a> Or hammering</div>
<div><adata-start="120.92"href="#">00:02:00,920</a> Oh, it's very loud. Oh [chuckling], it's applause or... a crowd of people. I don't know [chuckling]</div>
<div><adata-start="132.06"href="#">00:02:12,060</a> It's inside. It sounds like a hallway... I don't know. Like inside</div>
<div><adata-start="138.26"href="#">00:02:18,260</a> Because I hear some echoing</div>
<div><adata-start="142.56"href="#">00:02:22,560</a> Ot it's inside a tunnel, where people are passing by</div>
<div><adata-start="158.2"href="#">00:02:38,200</a> It sounds like near some street outside and I hear some kids in the background</div>
<div><adata-start="166.6"href="#">00:02:46,600</a> Again, there is a child screaming or crying</div>
<divclass="tooltip-wrap"style="text-decoration:underline;"><imgsrc="texts/thesis/carson-list.jpg"style="width: 100%"></img><divclass="tooltip-content-right"><div>this is how female/high-pitched voices have been described since acient times as Anne Carson observes</div></div></div>
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<h2style="text-align: left !important;"><ahref="podcast1.php"target="_blank">Podcasts</a></h2>
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<h2style="text-align: left !important;"><ahref="texts/thesis/thesis-angeliki.html"target="_blank">Let' s Talk About Unspeakable Things</a></h2>
<divclass="drag-content">Thesis</div>
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<h2style="text-align: left !important;"><ahref="amplification.html"target="_blank">Amplification of female voices</a></h2>
<divclass="drag-content">How can we engage politically with the exclusion of specific (female) voices from the public sphere through our own voice? Here I document my attempts to create a safe common space of discussing that topic in Leeszaal, that I consider a diverse public space, where we can explore our public voices in situ, and trying out vocal performances. I am doing that together with Christina Karagianni, who is also from Greece and with whom I share similar experiences of silencing. We combine our practices -her practice lies on choreography and mine on social interaction and sound- and try vocal exercises and reading in moments of Leeszaal.<divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">We invite <divclass="tooltip-content-right"><div>how we should approch the gender terminology and false association with voice when inviting people? Should it be about femme sounding? Female voice? </div></div></div>women from Leeszaal. Structure of the meetings: reading extracts in random order, <divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">discuss <divclass="tooltip-content-right"><div>what conflicts or frictions the technical aspect provokes?</div></div></div>personal associations and experiences with voice in public, warm up, say a personal sentence in any language, transcribe only the vowels, read back the vowels, sing all together the score of vowels.</div>
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<h2style="text-align: left !important;"><ahref=""target="_blank">Diary of West Rotterdam</a></h2>
<divclass="drag-content"><p>I recorded sounds from West Rotterdam, while walking around a neighborhood for several days. This action was part of my first experiments when I was in attempt to understand how gender binaries regarding voice are reflected in space, especially public space.
<h2style="text-align: left !important;"><ahref="player.html"target="_blank">player</a></h2>
<divclass="drag-content">Audio collection</div>
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<iframestyle="display: hidden;"width="250"src="https://www.youtube.com/embed/HlvfPizooII"frameborder="0"allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture"allowfullscreen></iframe>Angela Davis @Occupy Wall Street
<aclass="internet"href="https://www.youtube.com/watch?v=SirOxIeuNDE"target="popup"onclick="window.open('https://www.youtube.com/watch?v=SirOxIeuNDE','popup','width=600,height=600'); return false;">Laurie Anderson - Mach 20</a>
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<aclass="internet"href="https://www.thisamericanlife.org/667/wartime-radio"target="popup"onclick="window.open('https://www.thisamericanlife.org/667/wartime-radio','popup','width=600,height=600'); return false;">Ballout, D. (2019) ‘Good Morning, Kafranbel’, This American Life: Wartime Radio</a>
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<aclass="internet"href="https://www.youtube.com/watch?v=TY96Ma6YdtQ"target="popup"onclick="window.open('https://www.youtube.com/watch?v=TY96Ma6YdtQ','popup','width=600,height=600'); return false;">Vocal performance of Katalin Ladik in the film ‘Berberian Sound Studio’, 2012</a>
