high-pitched, loud shouting, having too much smile in it, decapitated hen, heartchilling groan, garg, horrendous, howling dogs, being tortured in hell, deadly, incredible babbling, fearsome hullabaloo, she shrieks obscenities, haunting garrulity, monstrous, prodigious noise level, otherwordly echo, making such a racket, a loud roaring noise, disorderly and uncontrolled outflow of sound, shrieking, wailing, sobbing, shrill lament, loud laughter, screams of pain or of pleasure, eruptions of raw emotion, groan, barbarous excesses, female outpourings, bad sound, craziness, non-rational, weeping, emotional display, oral disorder, disturbing, abnormal, "hysteria", "Not public property", exposing her inside facts, private data, permits direct continuity between inside and outside, female ejaculation, "saying ugly things", objectionable, pollution, remarkable
Thesis, in partial fulfillment of the requirements for the final examination for Master of Arts in Fine
Art and Design: Experimental Publishing.
Piet Zwart Institute, Willem de Kooning Academy.\
Adviser: Steve Ruston\
Second Reader: Kate Briggs
\clearpage
\tableofcontents
\clearpage
Let’s Talk About Unspeakable Things
by Angeliki Diakrousi
# Introduction
# Introduction
Even though voice is a medium for collective practice, as Walter Ong argues in his book *Orality and Literacy*, it is situated in a context that tends towards social binary structures and oppositions that restrict its possibilities. These binaries have structured Western thinking since antiquity and favor the 'civilized white male' subjectivities. Nevertheless, the nature of voice and its mediation overpass these oppositions of gender, nationality, culture, space, technology and power relations. My research seeks to unravel these political capabilities of voices, in order to to explore democratic ways of communication that embraces excluded forms of address. It deals with a voice that transcend the dichotomies of male/female, public/private, expert/amateur, rational/ irrational, ordered/wild. \
Even though voice is a medium for collective practice– as Walter Ong argues in his book *Orality and Literacy*– it is situated in a context that tends towards social binary structures and oppositions that restrict its possibilities. These binaries have structured Western thinking since antiquity and favor the 'civilized white male' subjectivities. Nevertheless, the nature of voice and its mediation overpass these oppositions of gender, nationality, culture, space, technology and power relations. My research seeks to unravel these political capabilities of voices, in order to explore democratic ways of communication that embrace excluded forms of address. It deals with a voice that transcend the dichotomies of male/female, public/private, expert/amateur, rational/ irrational, ordered/wild. \
This thesis is a series of three essays which relate to the female and collective voices, and their mediation. They address the voice as a feminist tool for communicating, creating the conditions for forms of listening, and inhabiting/making space. Historically, some modes of address have been marginalized and shut out of the public domain. The opposition between private and public space has played an important role in gender separation. The collective voices are marginalized under the realm of the patriarchal individualistic society. The female voices are part of it. The texts deal particularly with the voice as a medium for collective practices. I will investigate this in further detail in *The Monstrosity of Female Voices*. Technology expands the possibilities of those voices, for example by helping to their mediation and access to other places and audiences. Their engagement with media happens with an agonistic attitude, that resembles 'second orality' – a concept that Walter Ong has developed. Collective vocalization affords the amplification and multiplication either with the aid of technology or plural embodied practices that refuses dominant ways of establishing presence and dialogue. I will investigate this in further detail in *Multiplication vis a vis Amplification*. In our democracy there is a fear of 'ugly' modes of address which are connected to the female body – blood, birth, death, mourning – and other dark aspects and passions that are perceived as threatening to society. They allow a direct/unfiltered continuity between the 'inside' and 'outside' of the body and this seems irrational. These forms of vocalization are excluded from a public discourse which since antiquity have centered on 'self-control' and 'reason'. Such things are seen to create noise and disorder and "have to be kept" silent according to the patriarchal norms. But alternative media and forms of communication have been developed against this. Here I make a parallel between the technology of streaming and female continuity. I will talk about this in further detail in *Transmitting Ugly Things*.\
This thesis is a series of three essays which relate to the female and collective voices, and their mediation. They address the voice as a feminist tool for communicating, creating the conditions for forms of listening, and making space. Historically, some modes of address have been marginalized and shut out of the public domain. The opposition between private and public space has played an important role in gender separation. The collective voices are marginalized under the realm of the patriarchal individualistic society. The female voices are part of it. The texts deal particularly with the voice as a medium for collective practices. I will investigate this in further detail in *The Monstrosity of Female Voices*. Technology expands the possibilities of those voices, for example by helping to their mediation and access to other places and audiences. Their engagement with media happens with an agonistic attitude, that resembles 'second orality' – a concept that Walter Ong has developed. Collective vocalization affords the amplification and multiplication either with the aid of technology or plural embodied practices that refuses dominant ways of establishing presence and dialogue. I will investigate this in further detail in *Multiplication vis a vis Amplification*. In our democracy there is a fear of 'ugly' modes of address which are connected to the female body – blood, birth, death, mourning – and other dark aspects and passions that are perceived as threatening to society. They allow a direct/unfiltered continuity between the 'inside' and 'outside' of the body and this seems irrational. These forms of vocalization are excluded from a public discourse which since antiquity have centered on 'self-control' and 'reason'. Such things are seen to create noise and disorder and "have to be kept" silent according to the patriarchal norms. But alternative media and forms of communication have been developed against this. Here I make a parallel between the technology of streaming and female continuity. I will talk about this in further detail in *Transmitting Ugly Things*.\
In recent years my concern has been with the presence of female voices in public. During my previous studies I came to realize how my gendered body had been silenced or marginalized through slight gestures from male figures or institutional powers. By also observing women in their roles as members of my family, teachers, workers and immigrant neighbors of my youth, I discovered different types of marginalization and silencing. Examples would be women working at home, taking care of traditional “domestic duties” and neglecting their own desires and interests; men interrupting them when they articulate arguments in a political or formal dialogue and routinely underestimating their knowledge. Growing up, I also encountered other forms of feminine-female expressions that get suppressed. The mediation of their voices and the way they became present, active participants and visible in public sphere became one of my principle interests. My past artistic projects responded to that concern while I worked with voice and sound which, as forms of art, are underestimated in the context of Western visual culture. As this text will outline, they are forms connected to irrational attitudes and oral cultures. Because of its temporariness, non-linearity, invisibility and border-less character sound can exist and travel within multiple dimensions of spaces simultaneously, creating bonds between those spaces and people that participate in them. Throughout history, oral cultures, by being based on vocal expression, differ from more recently established literate cultures in that they embrace the collective sharing of knowledge. More specifically they create "personality structures that in certain ways are more communal and externalized, and less introspective than those common among literates" (Ong, 2002, pg. 67). In recent times, feminists have embraced voice in their practices because there is a uniqueness in it, that embodies the speakers and their personal stories, while connecting to present listeners. Together with these concerns, about the exclusion of women’s voices, I also experienced a gender-based differentiation between amateur and expert knowledge, particularly when approaching telecommunication networks and technologies, with the intention of learning to build and use them for my artistic practice. This division of labor goes alongside the more general gender exclusion I discuss in this text. I quickly found that I was not alone in this regard. The volunteers of an activist collective, Prometheus, expressed similar concerns in the construction of a radio station:
In recent years my concern has been with the presence of female voices in public. During my previous studies I came to realize how my gendered body had been silenced or marginalized through slight gestures from male figures or institutional powers. By also observing women in their roles as members of my family, teachers, workers and immigrant neighbors of my youth, I discovered different types of marginalization and silencing. Examples would be women working at home, taking care of traditional “domestic duties” and neglecting their own desires and interests; men interrupting them when they articulate arguments in a political or formal dialogue and routinely underestimating their knowledge. Growing up, I also encountered other forms of feminine-female expressions that get suppressed. The mediation of their voices and the way they became present, active participants and visible in public sphere became one of my principle interests. My past artistic projects responded to that concern while I worked with voice and sound which, as forms of art, are underestimated in the context of Western visual culture. As this text will outline, they are forms connected to irrational attitudes and oral cultures. Because of its temporariness, non-linearity, invisibility and border-less character sound can exist and travel within multiple dimensions of spaces simultaneously, creating bonds between those spaces and people that participate in them. Throughout history, oral cultures, by being based on vocal expression, differ from more recently established literate cultures in that they embrace the collective sharing of knowledge. More specifically they create "personality structures that in certain ways are more communal and externalized, and less introspective than those common among literates" (Ong, 2002, pg. 67). In recent times, feminists have embraced voice in their practices because there is a uniqueness in it, that embodies the speakers and their personal stories, while connecting to present listeners. Together with these concerns, about the exclusion of women’s voices, I also experienced a gender-based differentiation between amateur and expert knowledge, particularly when approaching telecommunication networks and technologies, with the intention of learning to build and use them for my artistic practice. This division of labor goes alongside the more general gender exclusion I discuss in this text. I quickly found that I was not alone in this regard. The volunteers of an activist collective, Prometheus, expressed similar concerns in the construction of a radio station:
>"The radio activists presented the work of soldering a transmitter, tuning an antenna, and producing a news program or governing a radio station to be accessible to all. Nevertheless, they were conscious of patterned gaps in their organization and volunteer base: men were more likely than women to know how to build electronics, to be excited by tinkering, and to have the know-how to teach neophytes.This troubled the activists"(Dunbar-Hester, pg. 53-54).
>"The radio activists presented the work of soldering a transmitter, tuning an antenna, and producing a news program or governing a radio station to be accessible to all. Nevertheless, they were conscious of patterned gaps in their organization and volunteer base: men were more likely than women to know how to build electronics, to be excited by tinkering, and to have the know-how to teach neophytes.This troubled the activists"(Dunbar-Hester, pg. 53-54).
@ -41,7 +66,7 @@ In one of my projects, *Sound Acts in Victoria Square* I 'inserted' the recorded
## What modes: the annoying noise
## What modes: the annoying noise
Throughout this thesis, I am referring extensively to Anne Carson's text *The Gender of Sound*, because it indicates the false association of the quality of the voice with the use of it under the aspect of gender and brings many examples of the binaries I am referring to. Here I list, from her text, how, since ancient times, female voices have been described;
Throughout this thesis, I am referring extensively to Anne Carson's text *The Gender of Sound*, because it indicates the false association of the quality of the voice with the use of it under the aspect of gender and brings many examples of the binaries I am referring to. Here I list, from her text, how, since ancient times, female voices have been described;
>high-pitched, loud shouting, having too much smile in it, decapitated hen, heartchilling groan, garg, horrendous, howling dogs, being tortured in hell, deadly, incredible babbling, fearsome hullabaloo, she shrieks obscenities, haunting garrulity, monstrous, prodigious noise level, otherwordly echo, making such a racket, a loud roaring noise, disorderly and uncontrolled outflow of sound, shrieking, wailing, sobbing, shrill lament, loud laughter, screams of pain or of pleasure, eruptions of raw emotion, groan, barbarous excesses, female outpourings, bad sound, craziness, non-rational, weeping, emotional display, oral disorder, disturbing, abnormal, "hysteria", "Not public property", exposing her inside facts, private data, permits direct continuity between inside and outside, female ejaculation, "saying ugly things", objectionable, pollution, remarkable
@ -87,8 +112,8 @@ Ong mentions that “[a]t the same time, with telephone, radio, television and v
## The mediation of voice through multiplication
## The mediation of voice through multiplication
Urban space spaces host a variety of political activities such as squatting, demonstrations, displays of the politics of culture and identity which are visible on the street and which are not dependent on massive media technologies. Since the beginning of human societies there has been a need for gatherings and sharing knowledge through verbal communication. Today the agonistic dynamics of primitive oral thought, which have effected the development of Western literate culture, have been "institutionalized by the ‘art’ of rhetoric, and by the related dialectic of Socrates and Plato, which furnished agonistic oral verbalization with a scientific base" (Ong, 2002, pg. 45). 'Agonistic pluralism' – a term proposed by Chantal Mouffe – is a type of democracy that acknowledges the multiplicity of voices and values, as well as conflicts of contemporary pluralist societies. It is based on 'agonism', instead of competitive antagonism, which means that people can see each other as adversaries who disagree, rather than enemies. Mouffe says that "a pluralist democracy
Urban space spaces host a variety of political activities such as squatting, demonstrations, displays of the politics of culture and identity which are visible on the street and which are not dependent on massive media technologies. Since the beginning of human societies there has been a need for gatherings and sharing knowledge through verbal communication. Today the agonistic dynamics of primitive oral thought, which have effected the development of Western literate culture, have been "institutionalized by the ‘art’ of rhetoric, and by the related dialectic of Socrates and Plato, which furnished agonistic oral verbalization with a scientific base" (Ong, 2002, pg. 45). 'Agonistic pluralism' – a term proposed by Chantal Mouffe – is a type of democracy that acknowledges the multiplicity of voices and values, as well as conflicts of contemporary pluralist societies. It is based on 'agonism', instead of competitive antagonism, which means that people can see each other as adversaries who disagree, rather than enemies. Mouffe says that "a pluralist democracy
cannot be to reach a rational consensus in the public sphere" (Mouffe, 2000a, pg. 104), because such a consensus cannot exist as it always implies a form of exclusion. Agonism can be achieved by providing channels through which all collective passions can be expressed and mobilized towards democratic approaches between adversaries – rather than a process of rational persuasion that refuses the existence of such passions.\
cannot be to reach a rational consensus in the public sphere" (Mouffe, 2000a, pg. 104), because such a consensus cannot exist as it always implies a form of exclusion. Agonism can be achieved by providing channels through which all collective passions can be expressed and mobilized towards democratic approaches between adversaries – rather than a process of rational persuasion that refuses the existence of such passions.\
On the other hand, speech act, is distinct from rhetoric and reasoned argument in that it makes something in real life. It is when a statement performs an action, like when a priest pronounces a husband and wife. It requires appropriate use of language within a given culture or context. It expresses more than the description of a meaning. Speech act is a performative action, whereby somebody performs, makes things happen and creates a space for them, rather than simply stating a fact. The presence of the body in a speech act provides a layer of trust and safety. These bodies with their voices create and inhabit the space they are part of. In this way they materialize their needs. In a contemporary context, public speeches are happening in both physical and digital spaces with the help of several media like internet (podcasts and live streaming) and radio (community radios). In the diverse media landscape individuals or groups can easily form and communicate speeches happening in a physical space by themselves without being dependent on a newspaper, publisher, the state or other institutional power. In the Occupy Movement <sup>[1](#myfootnote1)</sup> both known and unknown public speakers would spread their messages to an audience by standing in a public square. This action followed the principles of the Speaker's Corner, which is an area where open-air public speaking and debate are allowed and it was first established in Britain at the end of 19th century. It "symbolizes the kind of forum for debate sought for today’s post-industrial, highly mediated cities, encouraging face-to-face interaction and real-life conversation, albeit arranged by people texting each other, recorded by shooting and uploading video on YouTube, reported on twitter or documented on face book" (Speakers Corner Trust, no date). It is "the home of free speech, where anyone can get on their soapbox and make their voice heard" (Coomes, 2015). That is an example of the establishment of a speaking space, which is legitimate for public discourse and open for new forms of address. For example, in my project, *Sound Acts in Victoria Square*, I made a performative action of speech and vocal dialogue, which created a temporary space that revealed excluded forms of address in the square. My actions were conversations with women and broadcasts of their recorded voices back in the square, in a form of speech act but without their presence. This performative action opened a discussion within the square, changing for a while its character, about their exclusion and how voice occupies space. My current project is about the amplification of female voices (and other form of excluded voices) in public spaces and ways of channeling them. My approach, again, is to create, temporary 'safe' spaces of discussion that occupy public space – I focus in West Rotterdam, an area of immigrants, and Leeszaal, a self-organised library in that area. There I explore with others the capabilities of public voice, with workshops and meetings, intervening in moments of the library's and street's life.\
On the other hand, speech act, is distinct from rhetoric and reasoned argument in that it makes something in real life. It is when a statement performs an action, like when a priest pronounces a husband and wife. It requires appropriate use of language within a given culture or context. It expresses more than the description of a meaning. Speech act is a performative action, whereby somebody performs, makes things happen and creates a space for them, rather than simply stating a fact. The presence of the body in a speech act provides a layer of trust and safety. These bodies with their voices create and inhabit the space they are part of. In this way they materialize their needs. In a contemporary context, public speeches are happening in both physical and digital spaces with the help of several media like internet (podcasts and live streaming) and radio (community radios). In the diverse media landscape individuals or groups can easily form and communicate speeches happening in a physical space by themselves without being dependent on a newspaper, publisher, the state or other institutional power. In the Occupy Movement – an international movement since 2011 for social and economic justice and new forms of democracy based on public assemblies – both known and unknown public speakers would spread their messages to an audience by standing in a public square. This action followed the principles of the Speaker's Corner, which is an area where open-air public speaking and debate are allowed and it was first established in Britain at the end of 19th century. It "symbolizes the kind of forum for debate sought for today’s post-industrial, highly mediated cities, encouraging face-to-face interaction and real-life conversation, albeit arranged by people texting each other, recorded by shooting and uploading video on YouTube, reported on twitter or documented on face book" (Speakers Corner Trust, no date). It is "the home of free speech, where anyone can get on their soapbox and make their voice heard" (Coomes, 2015). That is an example of the establishment of a speaking space, which is legitimate for public discourse and open for new forms of address. For example, in my project, *Sound Acts in Victoria Square*, I made a performative action of speech and vocal dialogue, which created a temporary space that revealed excluded forms of address in the square. My actions were conversations with women and broadcasts of their recorded voices back in the square, in a form of speech act but without their presence. This performative action opened a discussion within the square, changing for a while its character, about their exclusion and how voice occupies space. My current project is about the amplification of female voices (and other form of excluded voices) in public spaces and ways of channeling them. My approach, again, is to create, temporary 'safe' spaces of discussion that occupy public space – I focus in West Rotterdam, an area of immigrants, and Leeszaal, a self-organised library in that area. There I explore with others the capabilities of public voice, with workshops and meetings, intervening in moments of the library's and street's life.\
A space, where is open for dialogue, can facilitate a democracy of agonism. Part of the occupy events would be public speeches in the context of public assemblies, often delivered by philosophers, writers, academics, resistance figures on the site of the occupied space. The audience would often be very big and therefore an amplifier was needed for the voice of the speaker to be heard by everyone. However, in the case of Occupy Wall Street, amplified sound devices, like microphones and megaphones, were only allowed outside, in public spaces when special permission from the municipality was given <sup>[1](#myfootnote2)</sup>. But "when the technologies above them are removed somehow, the foundational elements remain embedded and embodied in our cyborg bodies and brains" (Moraine, 2011). The participants of #occupy became the 'human microphone', as they called it. This means that all together they would repeat the words of the speaker for the benefit of those located in the rear. "Even given that many of the participants of #occupy are in full possession of smartphones, verbal address to the crowd from a singular source is still important" (Pages, 2011). The public space seems to exist in a more 'primitive' and embodied expression for those that lack platforms of representation.\
A space, where is open for dialogue, can facilitate a democracy of agonism. Part of the occupy events would be public speeches in the context of public assemblies, often delivered by philosophers, writers, academics, resistance figures on the site of the occupied space. The audience would often be very big and therefore an amplifier was needed for the voice of the speaker to be heard by everyone. However, in the case of Occupy Wall Street, amplified sound devices, like microphones and megaphones, were only allowed outside, in public spaces when special permission from the police was given. But "when the technologies above them are removed somehow, the foundational elements remain embedded and embodied in our cyborg bodies and brains" (Moraine, 2011). The participants of #occupy became the 'human microphone', as they called it. This means that all together they would repeat the words of the speaker for the benefit of those located in the rear. "Even given that many of the participants of #occupy are in full possession of smartphones, verbal address to the crowd from a singular source is still important" (Pages, 2011). The public space seems to exist in a more 'primitive' and embodied expression for those that lack platforms of representation.\
Saskia Sassen (‘Saskia Sassen’, 2012) observes that in cities today a big mix of people coexist. Those who lack power can make themselves present through face-to-face communication. According to Sassen, this condition reveals another type of politics and political actors, based on hybrid contexts of acting, outside of the formal system. Kanaveli (Ελιάνα Καναβέλη, 2012) maintains that something that is visible and can be heard is reality and can create and give power. Site specificity is also very characteristic in these cases.\
Saskia Sassen (‘Saskia Sassen’, 2012) observes that in cities today a big mix of people coexist. Those who lack power can make themselves present through face-to-face communication. According to Sassen, this condition reveals another type of politics and political actors, based on hybrid contexts of acting, outside of the formal system. Kanaveli (Ελιάνα Καναβέλη, 2012) maintains that something that is visible and can be heard is reality and can create and give power. Site specificity is also very characteristic in these cases.\
From my point of view, the Occupy Movement revealed a lot about the relation of media technology to presence and resistance, as an amplified process, in public. Those people, because of their multilayered relation to technology, like social media, are able to spread words and make them disperse virally on the Internet. As it can be seen from the Youtube videos documenting #occupy, the crowd uses a lot of different media technologies, like their smartphones, to record or stream the words of the public speakers on Livestream platforms. This process was also a way to archive and make public bottom-up initiatives in public spaces in diverse networks. At the same time there is a temporariness in this action as internet platforms are constantly changing or disappearing. So, events and speeches appear in fragments of videos, transcriptions, and conversations in forums. It is more likely that the users, protesters leave as many traces online as possible; fragments of resistance. The multilayered communication of events is manifested in their urgent and fast multiplication, in different forms and spaces. Together with the public event of a crowd protesting, "there is also a media event that forms across time and space, calling for the demonstrations, so some set of global connections is being articulated" (Butler and Athanasiou, 2013, pg. 197). The use of all these media doesn't require any special skill and the presence of an expert is not required. So, mainstream media journalists are not always needed for news to spread to a wider public. This also means that messages aren't always edited or altered by large news media companies. "With cellphones, iPads and video cameras affixed to laptops, Occupy participants showed that almost anyone could broadcast live news online. In addition, they could help build an audience for their video by inviting people to talk about what they were seeing" (Preston, 2011)
From my point of view, the Occupy Movement revealed a lot about the relation of media technology to presence and resistance, as an amplified process, in public. Those people, because of their multilayered relation to technology, like social media, are able to spread words and make them disperse virally on the Internet. As it can be seen from the Youtube videos documenting #occupy, the crowd uses a lot of different media technologies, like their smartphones, to record or stream the words of the public speakers on Livestream platforms. This process was also a way to archive and make public bottom-up initiatives in public spaces in diverse networks. At the same time there is a temporariness in this action as internet platforms are constantly changing or disappearing. So, events and speeches appear in fragments of videos, transcriptions, and conversations in forums. It is more likely that the users, protesters leave as many traces online as possible; fragments of resistance. The multilayered communication of events is manifested in their urgent and fast multiplication, in different forms and spaces. Together with the public event of a crowd protesting, "there is also a media event that forms across time and space, calling for the demonstrations, so some set of global connections is being articulated" (Butler and Athanasiou, 2013, pg. 197). The use of all these media doesn't require any special skill and the presence of an expert is not required. So, mainstream media journalists are not always needed for news to spread to a wider public. This also means that messages aren't always edited or altered by large news media companies. "With cellphones, iPads and video cameras affixed to laptops, Occupy participants showed that almost anyone could broadcast live news online. In addition, they could help build an audience for their video by inviting people to talk about what they were seeing" (Preston, 2011)
@ -102,19 +127,15 @@ On some occasions, the amplification of the voice, as a mode of prohibition and
Suffragette speech-making workshops were a way to provide women with tools “with which to take their concerns out into the public domain” (Rose Gibbs, 2016), or in other words to amplify their voices in public. In 1912, Sylvia Pankhurst and the East London Federation of Suffragettes organized such workshops in private spaces, to encourage women to practice speech and feel comfortable with it before they spoke in public. They would read speeches out loud to other women. Like Suffragettes, women, even today, struggle with lack of confidence, when appearing in public. Back then, feminist Margaret Wynne Nevinson, "once wrote she felt a 'dizzy sickness of terror' the first time she stood up to speak publicly" (Cochrane, 2013). Some of them would feel anxious because of male eyes looking at them intensively. This emphasis on speech was an extension of a non-violent political philosophy of early feminism. They focused on the voice because there is a uniqueness in it, that embodies the speaker when entering a dialogue. It is an approach that rejects the abstract and bodiless universal identity of one's person that has been developed by Western thought. By such an identity, I mean that one person is represented as a universal entity that shares the same characteristics and problems with all the people. So, this person can be represented by somebody else by proxy, such as a politician or family member, in a conversation concerning her/his own body. But from a feminist perspective, each individual is unique and carries personal and situated problems and principles, so they are the only one that can represent themselves. Even more, the voice through speech – that can take the form of songs passing from one to the other or the collective voice of protesting – links one another and at the same time keeps the individuality of the speaker. In contrast to mainstream political spheres, feminists, like anarchists, look for horizontal ways of communication where no voice dominated over others (Gibbs, 2016). Listening and waiting for everyone to speak, even the most timid, is a basic element of these kind of practices. To be able to listen and include somebody in a conversation requires constant practice. I realized that after starting to work with voice and sound. Listening and patiently keeping notes are one of the most important methods in my approach. I listen sounds and voices of the places I am intervening in and I invite other people, mostly those related to that area, to do the same. Right now, I am using that method in an area of West Rotterdam, with the intention to create dialogues and explore practices with others. This practice can reveal many unexpected narratives from a place or a person and helps to avoid faulty prejudgements for that person or the area. Then, the ground is ready for a dialogue to begin. The topic of the discussion I want to open is about the exclusion and silencing of female voices – that may transcend and break gender and social binaries – in public.\
Suffragette speech-making workshops were a way to provide women with tools “with which to take their concerns out into the public domain” (Rose Gibbs, 2016), or in other words to amplify their voices in public. In 1912, Sylvia Pankhurst and the East London Federation of Suffragettes organized such workshops in private spaces, to encourage women to practice speech and feel comfortable with it before they spoke in public. They would read speeches out loud to other women. Like Suffragettes, women, even today, struggle with lack of confidence, when appearing in public. Back then, feminist Margaret Wynne Nevinson, "once wrote she felt a 'dizzy sickness of terror' the first time she stood up to speak publicly" (Cochrane, 2013). Some of them would feel anxious because of male eyes looking at them intensively. This emphasis on speech was an extension of a non-violent political philosophy of early feminism. They focused on the voice because there is a uniqueness in it, that embodies the speaker when entering a dialogue. It is an approach that rejects the abstract and bodiless universal identity of one's person that has been developed by Western thought. By such an identity, I mean that one person is represented as a universal entity that shares the same characteristics and problems with all the people. So, this person can be represented by somebody else by proxy, such as a politician or family member, in a conversation concerning her/his own body. But from a feminist perspective, each individual is unique and carries personal and situated problems and principles, so they are the only one that can represent themselves. Even more, the voice through speech – that can take the form of songs passing from one to the other or the collective voice of protesting – links one another and at the same time keeps the individuality of the speaker. In contrast to mainstream political spheres, feminists, like anarchists, look for horizontal ways of communication where no voice dominated over others (Gibbs, 2016). Listening and waiting for everyone to speak, even the most timid, is a basic element of these kind of practices. To be able to listen and include somebody in a conversation requires constant practice. I realized that after starting to work with voice and sound. Listening and patiently keeping notes are one of the most important methods in my approach. I listen sounds and voices of the places I am intervening in and I invite other people, mostly those related to that area, to do the same. Right now, I am using that method in an area of West Rotterdam, with the intention to create dialogues and explore practices with others. This practice can reveal many unexpected narratives from a place or a person and helps to avoid faulty prejudgements for that person or the area. Then, the ground is ready for a dialogue to begin. The topic of the discussion I want to open is about the exclusion and silencing of female voices – that may break gender and social binaries – in public.\
In the examples of radio art and pirate radio activism, the temporariness and site-specificity of these actions- of prohibition, sharing of knowledge and communicating through voice- were tangled with the materiality and specificity of the medium. Reni Hofmüller, for example, together with others, made pirate radio in 1990s when the frequency bands were not open for everyone, except the state and companies. She describes her experience as follows:
In the examples of radio art and pirate radio activism, the temporariness and site-specificity of these actions – of prohibition, sharing of knowledge and communicating through voice – were tangled with the materiality and specificity of the medium. Reni Hofmüller, for example, together with others, made pirate radio in 1990s when the frequency bands were not open for everyone, except the state and companies. She describes how quickly they could pack their small self-made radio station and leave from the place of their broadcast, when police would notice them. The small size of the transmitter and their DIY folded antenna would make it easier for them to not be traced (see Appendix 1). Since 1920, radio was criticized as a wasteland of commercials and state propaganda. It was Bertolt Brecht (Kanouse, 2011, pg. 87) who perceived it as a transceiver to experiment with, and questioning its use. Walter Benjamin believed it would fail as long as the separation between practitioners and public persisted. From early on, tight regulations restricted the electromagnetic public sphere so that artists didn’t engage deeply with its elements and it was constantly seen as “an unrealized and undertheorized social and aesthetic space” (Kanouse, 2011, pg. 87). Only pirate radio practitioners, with their low-tech practice and self-broadcasting, could interrogate the public, critical and political aspects of radio, as Brecht and Benjamin had imagined. Sarah Kanouse sees the use of prohibited technologies and the confrontation with these restrictions as a political act, one that can propose an “anti-authoritarian radical democracy” (Kanouse, 2011, pg. 89) through the formation of small groups that learn to broadcast and produce alternative media cultures.\
>"We started doing it in the 1990s that the machinery was already quite small. It was simply easier to hide the transmitter, when it has the size of a cigarette pack. The transmitter they used before it was much bigger and it needed more electricity. So, we had this small transmitter, which had five watch power, so it was really weak- it just reach parts of the city of Graz- and then additionally we had a tape walkman to that. You have to think it's the beginning of the 1990s, so there is no mobile computers, accessible to us. (...) We have this small cigarette pack size transmitter more or less. And we have this also very small walkman. Both can function with batteries, because it was also not very long time that we broadcast. And the antenna, it is a Yagi antenna, but it is not the fixed one. (...) its foldable (...) And we would hang it on a tree. We would go to one of the hills outside the city, surrounding the city. And we knew those who control the frequency band. (...) The moment you switch on an additional transmitter they immediately see the pick and in a very short time- and I've seen them once doing it live- it takes them seconds to find out where you are. It is frustrating because 'chack' [sound of fingers] they have you. But then of course to actually catch you they have to physically go where you are. (...) we always broadcast on Sunday noon, 1 pm, so we knew this is when people have this Sunday late breakfast/brunch think and they can listen to us and that it would take the controlling body about 20 minutes to get from the place they are, a tower in the center of town, to the hill we were. So we had 18 minutes of broadcasting time and then we had to pack and disappear. (...) And then you just pack it in a little backpack, because it is so small, you can fold the antenna the two things are really small and you are taking a stroll in a Sunday afternoon" (Hofmüller, 2018).
Since 1920, radio was criticized as a wasteland of commercials and state propaganda. It was Bertolt Brecht (Kanouse, 2011, pg. 87) who perceived it as a transceiver to experiment with, and questioning its use. Walter Benjamin believed it would fail as long as the separation between practitioners and public persisted. From early on, tight regulations restricted the electromagnetic public sphere so that artists didn’t engage deeply with its elements and it was constantly seen as “an unrealized and undertheorized social and aesthetic space” (Kanouse, 2011, pg. 87). Only pirate radio practitioners, with their low-tech practice and self-broadcasting, could interrogate the public, critical and political aspects of radio, as Brecht and Benjamin had imagined. Sarah Kanouse sees the use of prohibited technologies and the confrontation with these restrictions as a political act, one that can propose an “anti-authoritarian radical democracy” (Kanouse, 2011, pg. 89) through the formation of small groups that learn to broadcast and produce alternative media cultures.\
She brings the example of a project, called *Talking Homes* by John Brumit, which was realized under the residency of the Neighborhood Public Radio (little NPR) arts collective of Detroit. The inhabitants broadcast personal stories through transmitters located in their houses and other buildings, revealing the struggle and the daily routine of these people living in degraded neighborhoods. The interviewers were trained by the artist to use their transmitters. It seemed that the exposition of the private sphere, reflected in the localization of the media and the gossip produced, to the public more clearly re-framed clearer the struggle for the neighborhood than big radio networks had. The public engagement, which was not of the typically privileged audience of art spaces, was deep even though the broadcast may have been illegal. The project embodied the spirit of NPR, characterized by the smallness, site-specificity and listener’s participation. Even though these small transmitters don't have many listeners because of their small range, NRC sees that as a way to link people and thus negates the previously mentioned separation of practitioner and public mentioned before. The little NPR, in contrast to National Public Radio (the big NPR), embraces amateurism on the base of its 'polymorphous' structure. In other words, it embraces the instability, diversity, discomforts and the contradictions it produces. Similarly, as a practitioner, I approach neighborhoods and specific places to try actions of listening and participation, as an attempt to eliminate the binary of expert and amateur, artist and audience. Sometimes this approach means that I have to reduce my ambitions of the media used and listen to the choices of the people. In the project I am working right now I build up a set of workshops with others and I gradually introduce more ways of mediation of our voices. This is a way to learn our tools and use them as we wish to mediate our messages. \
She brings the example of a project, called *Talking Homes* by John Brumit, which was realized under the residency of the Neighborhood Public Radio (little NPR) arts collective of Detroit. The inhabitants broadcast personal stories through transmitters located in their houses and other buildings, revealing the struggle and the daily routine of these people living in degraded neighborhoods. The interviewers were trained by the artist to use their transmitters. It seemed that the exposition of the private sphere, reflected in the localization of the media and the gossip produced, to the public more clearly re-framed clearer the struggle for the neighborhood than big radio networks had. The public engagement, which was not of the typically privileged audience of art spaces, was deep even though the broadcast may have been illegal. The project embodied the spirit of NPR, characterized by the smallness, site-specificity and listener’s participation. Even though these small transmitters don't have many listeners because of their small range, NRC sees that as a way to link people and thus negates the previously mentioned separation of practitioner and public mentioned before. The little NPR, in contrast to National Public Radio (the big NPR), embraces amateurism on the base of its 'polymorphous' structure. In other words, it embraces the instability, diversity, discomforts and the contradictions it produces. Similarly, as a practitioner, I approach neighborhoods and specific places to try actions of listening and participation, as an attempt to eliminate the binary of expert and amateur, artist and audience. Sometimes this approach means that I have to reduce my ambitions of the media used and listen to the choices of the people. In the project I am working right now I build up a set of workshops with others and I gradually introduce more ways of mediation of our voices. This is a way to learn our tools and use them as we wish to mediate our messages. \
The second project, that Kanouse relates to, is *The Public Broadcast Cart* made by Ricardo Miranda Zuñiga. This is a portable home-made radio, broadcasting the voice of someone driving a cart in several places. The voice of the participant becomes public on site through speakers and extends to radio frequencies and the Internet. The legality of the radio cart doesn’t concern the present, public and this unusual object attracts their attention even more. Based on an open-source, pirate radio spirit, this offering of access to the technology refuses the specialization and the prohibition of the airwaves. The parallel expanses of the voice and the uncensored speech in three different public spaces occupies at the same time the physical, on-line and electromagnetic realm. The DIY electronic media empowers both individual and collective voices.\
The second project, that Kanouse relates to, is *The Public Broadcast Cart* made by Ricardo Miranda Zuñiga. This is a portable home-made radio, broadcasting the voice of someone driving a cart in several places. The voice of the participant becomes public on site through speakers and extends to radio frequencies and the Internet. The legality of the radio cart doesn’t concern the present, public and this unusual object attracts their attention even more. Based on an open-source, pirate radio spirit, this offering of access to the technology refuses the specialization and the prohibition of the airwaves. The parallel expanses of the voice and the uncensored speech in three different public spaces occupies at the same time the physical, on-line and electromagnetic realm. The DIY electronic media empowers both individual and collective voices.\
During the conflict in Syria, a group of people that wanted to broadcast their own news for the safety of the citizens and the avoidance of more killings, set up a radio station. Its programs would include urgent announcements of battles, strikes, and skirmishes, tutorials for medical care, music and other topical issues. The station, which was called *Radio Fresh*<sup>[1](#myfootnote3)</sup>, ceased to exist in 2016 because of a sudden intervention from Nusra, an extremist Islamist group. While it was on the air the male initiators invited women, who were mainly hidden in their houses, to produce their own programs. Some groups of women decided to first learn vocal techniques. They then broadcasted their own music and speech, but after a while Nusra threatened to close the station if women didn't leave. "Nusra considered their voices shameful, a form of nakedness" (667: Wartime Radio, 2019), similar to the political nakedness that Anne Carson refers to in her text. When Alkaios, an archaic poet, was exiled in the outskirts of the city, he is surrounded by the cries of women – "[n]o proper civic space would contain it unregulated" (Carson, 1996, pg. 125). A man would not make a sound like that and for Alkaios to be exposed to it is a condition of political nakedness. Pythagoras had a similar opinion about his wife's voice; he believed that her speech like her body should not exposed to public, "and she should as modestly guard against exposing her voice to outsiders as she would guard against stripping off her clothes" (Carson, 1996, pg. 129).This appears to be a shameful act, even today, given the example I mentioned before. But, then, doesn't this assumption establish that the female voices lacks political connotation? This kind of male extremist group seeks to prevent women from political expression. After these threats, these women were helped to electronically re-modulate their voices from female to male. They felt weird with this transformation, but everybody was taking their words seriously and after a while they got used to it. It became part of themselves, " it just became normal, and it literally got to the point where I could tell you which girl was which voice" (667: Wartime Radio, 2019)\
During the conflict in Syria, a group of people that wanted to broadcast their own news for the safety of the citizens and the avoidance of more killings, set up a radio station. Its programs would include urgent announcements of battles, strikes, and skirmishes, tutorials for medical care, music and other topical issues. The station, which was called *Radio Fresh*, ceased to exist in 2016 because of a sudden intervention from Nusra, an extremist Islamist group. While it was on the air the male initiators invited women, who were mainly hidden in their houses, to produce their own programs. Some groups of women decided to first learn vocal techniques. They then broadcasted their own music and speech, but after a while Nusra threatened to close the station if women didn't leave. "Nusra considered their voices shameful, a form of nakedness" (667: Wartime Radio, 2019), similar to the political nakedness that Anne Carson refers to in her text. When Alkaios, an archaic poet, was exiled in the outskirts of the city, he is surrounded by the cries of women – "[n]o proper civic space would contain it unregulated" (Carson, 1996, pg. 125). A man would not make a sound like that and for Alkaios to be exposed to it is a condition of political nakedness. Pythagoras had a similar opinion about his wife's voice; he believed that her speech like her body should not exposed to public, "and she should as modestly guard against exposing her voice to outsiders as she would guard against stripping off her clothes" (Carson, 1996, pg. 129).This appears to be a shameful act, even today, given the example I mentioned before. But, then, doesn't this assumption establish that the female voices lacks political connotation? This kind of male extremist group seeks to prevent women from political expression. After these threats, these women were helped to electronically re-modulate their voices from female to male. They felt weird with this transformation, but everybody was taking their words seriously and after a while they got used to it. It became part of themselves, " it just became normal, and it literally got to the point where I could tell you which girl was which voice" (667: Wartime Radio, 2019)\
@ -130,7 +151,7 @@ The mediation of marginalized forms of voicing is happening in conditions that e
## What ugly things, and the medium
## What ugly things, and the medium
Marginalized people vocalize things that are unacceptable for the society, unspeakable, politically incorrect, emotionally overwhelming, disorderly. They are too personal, too emotional, too embodied. In *The Gender of Sound*, Anne Carson explains how the direct mode of address of women's voices has been an annoyance for patriarchal society since the time of Ancient Greece. A woman would expose her inside truths that were supposed to be kept private. For example, emotions that reveal pleasure or pain either from sexual encounters, or the birth of a child. "By projections and leakages of all kinds- somatic, vocal, emotional, sexual- females expose or expend what should be kept in" (Carson, 1996, pg. 129); this reveals society's fear of death, blood, darkness, birth, the female body. This direct continuity and linkage between the inside and outside has been a threat for human nature and society as it is not filtered through the rational tool of human communication, 'speech'. It has been established that our inner desires and needs have to be expressed indirectly through speech, and in the case of women, through their men’s speech or as Eliana Kanaveli says, "the interests of women are represented by men and are a partial expression of patriarchy" (Kanaveli, 2012). Through speech and language people can construct their identities and claim their own presence and voice in public. There is a connection of sound and voice with externalizing our inside subjectivities, that remain hidden. One of the principal characteristics of sound is its unique relationship to interiority. According to Walter Ong (2002, pg. 69) "[t]his relationship is important because of the interiority of human consciousness and of human communication itself". Human consciousness is internalized and inaccessible to outside people. Hearing a sound or voice can expose inside structures of something or somebody without violating it. Sound, in contrast to vision, comes from any direction to the human ear and in primary oral culture was affecting deeply the way humans perceived their own existence and presence. Thus, the voice mediated trough the body transfers the inside resonance, that is connected to consciousness and physical elements, to the outside, contributing to human communication. \
Marginalized people vocalize things that are unacceptable for the society, unspeakable, politically incorrect, emotionally overwhelming, disorderly. They are too personal, too emotional, too embodied. In *The Gender of Sound*, Anne Carson explains how the direct mode of address of women's voices has been an annoyance for patriarchal society since the time of Ancient Greece. A woman would expose her inside truths that were supposed to be kept private. For example, emotions that reveal pleasure or pain either from sexual encounters, or the birth of a child. "By projections and leakages of all kinds- somatic, vocal, emotional, sexual- females expose or expend what should be kept in" (Carson, 1996, pg. 129); this reveals society's fear of death, blood, darkness, birth, the female body. This direct continuity and linkage between the inside and outside has been a threat for human nature and society as it is not filtered through the rational tool of human communication, 'speech'. It has been established that our inner desires and needs have to be expressed indirectly through speech, and in the case of women, through their men’s speech or as Eliana Kanaveli says, "the interests of women are represented by men and are a partial expression of patriarchy" (Kanaveli, 2012). Through speech and language people can construct their identities and claim their own presence and voice in public. There is a connection of sound and voice with externalizing our inside subjectivities, that remain hidden. One of the principal characteristics of sound is its unique relationship to interiority. According to Walter Ong (2002, pg. 69) "[t]his relationship is important because of the interiority of human consciousness and of human communication itself". Human consciousness is internalized and inaccessible to outside people. Hearing a sound or voice can expose inside structures of something or somebody without violating it. Sound, in contrast to vision, comes from any direction to the human ear and in primary oral culture was affecting deeply the way humans perceived their own existence and presence. Thus, the voice mediated trough the body transfers the inside resonance, that is connected to consciousness and physical elements, to the outside, contributing to human communication. \
One perceived 'ugly' form of address in Ancient Greece was an utterance, a high-pitched cry, called ‘ololyga’ which was a female ritual practice. This is still practiced in Greece and the Middle East, and it is related to mourning. In their rituals women would also say offensive things in the context of 'aischrologia'; a process whereby woman, acting as proxy, would freely discharge unspeakable things on behalf of the city. A more recent form of monstrous articulation is 'hysteria', as theorized by Freud, which connects the psychical events within a woman's body directly to the outside, her exterior behavior. The word of this disease connects to the inside of the female body as it "derives from 'hystera', Greek for uterus, and ancient doctors attributed a number of female maladies to a starved or misplaced womb"(Kinetz, 2006). The illness was based on sexual deprivation, because feminine sexual pleasure was considered taboo. Freud, in difference with other psychologists, theorized it as a way the interior (unconscious) conflict would manifest in the outside world into physical symptoms, so hysterical actions were mediations. It seems that the feminine consciousness through these processes was accused as something evil and its communication to the outside was happening through abnormal, exaggerating physical symptoms. Females are often associated with sins and evil within the collective memory. For example, gossip is a form of address that reveals secrets that should stay hidden. It is an alternative form of communication which operates in the private domain and has been created in response to the exclusion of speech in public. Gossip "provides subordinated classes with a mode of communication beyond an official public culture from which they are excluded" (The Gossip, 2017, p.61). But even in Ancient Greece this form was undesirable; Plutarch (Carson, 1996, pg. 130) tells a story of how a secret is spread fast by women creating chaos and ruin, in contrast to men who refrain from revealing it. In contrast to this, the rational expression of speech is about restriction and self-control. In *Odussey* authoritative public speech is "not the kind of chatting, prattling or gossip that anyone – women included, or especially women – could do" (Beard, 2017).\
One perceived 'ugly' form of address in Ancient Greece was an utterance, a high-pitched cry, called ‘ololyga’ which was a female ritual practice. This is still practiced in Greece and the Middle East, and it is related to mourning. In their rituals women would also say offensive things in the context of 'aischrologia'; a process whereby woman, acting as proxy, would freely discharge unspeakable things on behalf of the city. A more recent form of monstrous articulation is 'hysteria', as theorized by Freud, which connects the psychical events within a woman's body directly to the outside, her exterior behavior. The word of this disease connects to the inside of the female body as it "derives from 'hystera', Greek for uterus, and ancient doctors attributed a number of female maladies to a starved or misplaced womb"(Kinetz, 2006). The illness was based on sexual deprivation, because feminine sexual pleasure was considered taboo. Freud, in difference with other psychologists, theorized it as a way the interior (unconscious) conflict would manifest in the outside world into physical symptoms, so hysterical actions were mediations. It seems that the feminine consciousness through these processes was accused as something evil and its communication to the outside was happening through abnormal, exaggerating physical symptoms. Females are often associated with sins and evil within the collective memory. For example, gossip is a form of address that reveals secrets that should stay hidden. It is an alternative form of communication which operates in the private domain and has been created in response to the exclusion of speech in public. Gossip "provides subordinated classes with a mode of communication beyond an official public culture from which they are excluded" (The Gossip, 2017, p.61). But even in Ancient Greece this form was undesirable; Plutarch (Carson, 1996, pg. 130) tells a story of how a secret is spread fast by women creating chaos and ruin, in contrast to men who refrain from revealing it. In contrast to this, the rational expression of speech is about restriction and self-control. In *Odussey* authoritative public speech is "not the kind of chatting, prattling or gossip that anyone – women included, or especially women – could do" (Beard, 2017).\
Other ugly things are the private and hidden events of family violence. For feminists in the early 20th century, public speech, in a group of other women sharing the same problem, was a way to externalize the personal violence and suppression of women, without using violence in response. Protesters, respectively, protest in plural voices against the abuses of power by their government either by demonstrating or occupying public spaces, such as the recent Occupy Movement and Arab Spring. All these examples do not follow the rationalist approach of the context they are part of. They mobilize passion, dispair, vulnerabilities and unfulfilled desires with their voices and presence. The recent public expressions of ourage in Europe have been criticized by elite figures as immature, too emotional and non-political, while they should be rational and technocratic actions. Passion- associated with irrational sentimental femininity, uncivilized primitiveness, and an inarticulate working class- is being politically devaluated on the base of normalizing the shift from political to juridical reason (Butler and Athanasiou, 2013, pg. 177). The idea that democracy is a civilized way of making decisions that doesn't accept any form of over-emotion or overflow of expression, is nothing more than an illusion that actually threatens the existence of democracy by creating exclusion and disregarding the importance of passions and desires in politics. As Chantal Mouffe says, "[i]f there is anything that endangers democracy nowadays, it is precisely the rationalist approach, because it is blind to the nature of the political and denies the central role that passions play in the field of politics" (Mouffe, 2000b, pg. 146). Thus, democratic processes should take into consideration any irrational fantasies and desires that the public express. Their suppression may lead to repressed pain, fanaticism and totalitarianism, as there is no space for them to exist. The rationalist mind is connected to the contemporary literate and civilized individual, who has rejected the wild primitive subjectivity, as it belongs to the past. But, this Darwinian ideology of linear evolution rejects present abnormal- that cannot adjust in the current regime- behaviors, which may express minorities and propose new democratic practices. A strong critical relation with the past is needed, and even more, to embrace elements from previous and other more 'primitive' cultures in a non-linear way.
Other ugly things are the private and hidden events of family violence. For feminists in the early 20th century, public speech, in a group of other women sharing the same problem, was a way to externalize the personal violence and suppression of women, without using violence in response. Protesters, respectively, protest in plural voices against the abuses of power by their government either by demonstrating or occupying public spaces, such as the recent Occupy Movement and Arab Spring. All these examples do not follow the rationalist approach of the context they are part of. They mobilize passion, dispair, vulnerabilities and unfulfilled desires with their voices and presence. The recent public expressions of ourage in Europe have been criticized by elite figures as immature, too emotional and non-political, while they should be rational and technocratic actions. Passion- associated with irrational sentimental femininity, uncivilized primitiveness, and an inarticulate working class- is being politically devaluated on the base of normalizing the shift from political to juridical reason (Butler and Athanasiou, 2013, pg. 177). The idea that democracy is a civilized way of making decisions that doesn't accept any form of over-emotion or overflow of expression, is nothing more than an illusion that actually threatens the existence of democracy by creating exclusion and disregarding the importance of passions and desires in politics. As Mouffe writes, "[i]f there is anything that endangers democracy nowadays, it is precisely the rationalist approach, because it is blind to the nature of the political and denies the central role that passions play in the field of politics" (Mouffe, 2000b, pg. 146). Thus, democratic processes should take into consideration any irrational fantasies and desires that the public express. Their suppression may lead to repressed pain, fanaticism and totalitarianism, if there is no space for them to exist. The rationalist mind is connected to the contemporary literate and civilized individual, who has rejected the wild primitive subjectivity, as it belongs to the past. But, this Darwinian ideology of linear evolution rejects present abnormal- that cannot adjust in the current regime- behaviors, which may express minorities and propose new democratic practices. A strong critical relation with the past is needed, and even more, to embrace elements from previous and other more 'primitive' cultures in a non-linear way.
## Streaming media in relation to female continuity
## Streaming media in relation to female continuity
In ancient medical and anatomical theory women had two mouths, the upper and the lower, connected through the neck. The lips of both these mouths guarded a 'hollow cavity' and they had to remain closed. Having two mouths that speak simultaneously is confusing and embarrassing, and this creates ‘kakophony’. Females were expressing something directly when it should have been said indirectly. Traditionally, this direct continuity between the inside and the outside is repulsive to the male nature, which aspires for self-control, interrupting this continuity and dissociating the inside from the outside (Carson, 1996, pg. 131). Women 'transmit' unfiltered information. At this point I would like to draw a fantastic parallel with streaming media, which has been used as a tool of direct and urgent communication by protesters, as in the case of the Occupy Movement. Similarly with the continuity I described before, streaming protocols and processes deliver unedited live messages that sometimes disagree with the mainstream. At Occupy Wall Street, for example, streaming media, like Livestream, Ustream and Youtube, was a way for protesters to be immediately heard in public and to broadcast their own news online. Thus, experts or official media platforms were unable to filter their speech or alter messages before they were spread online. The companies providing online streaming didn't agree with the actions and messages of #occupy and thus they would publicly disassociate themselves from them. "Both Livestream and Ustream officials say they simply operate platforms and are not supporting the movements(...)[they] removed advertising from the Occupy channels after some brands complained that they did not want their ads appearing next to streaming video of protesters"(Preston, 2011). Similarly, radio streaming has been a way for activists, protesters and citizens to share their own news and program. In times of war, citizens set up their own radio stations, that proposes alternative source of news and can't be censored by the government- radio technology can escape mainstream platforms, such as Internet, and thus avoid part of surveillance from top. In Syria for example, during war, activists built a radio station, called Radio Fresh, which, besides other things, was announcing strikes and battles for the safety of citizens (667: Wartime Radio, 2019). I will elaborate on the example in *Multiplication Vis a Vis Amplification*. This unaltered and direct speech of (radio/streaming) broadcasting has similarities with the uncontrolled direct expression of the female bodies in public (like 'hysteria', 'aischrologia', 'ololyga'). There is a fear of continuity related to the message that comes out, unedited, from the inside of the human 'container' and its channels. This continuity seems to me to be like an 'embodied streaming' that relates the medium with the human body, based on the need for a message to be articulated and distributed to others. Live streaming provides the opportunity for a body to be present somewhere else, with a slight delay, through the voice or a video representation.
In ancient medical and anatomical theory women had two mouths, the upper and the lower, connected through the neck. The lips of both these mouths guarded a 'hollow cavity' and they had to remain closed. Having two mouths that speak simultaneously is confusing and embarrassing, and this creates ‘kakophony’. Females were expressing something directly when it should have been said indirectly. Traditionally, this direct continuity between the inside and the outside is repulsive to the male nature, which aspires for self-control, interrupting this continuity and dissociating the inside from the outside (Carson, 1996, pg. 131). Women 'transmit' unfiltered information. At this point I would like to draw a fantastic parallel with streaming media, which has been used as a tool of direct and urgent communication by protesters, as in the case of the Occupy Movement. Similarly with the continuity I described before, streaming protocols and processes deliver unedited live messages that sometimes disagree with the mainstream. At Occupy Wall Street, for example, streaming media, like Livestream, Ustream and Youtube, was a way for protesters to be immediately heard in public and to broadcast their own news online. Thus, experts or official media platforms were unable to filter their speech or alter messages before they were spread online. The companies providing online streaming didn't agree with the actions and messages of #occupy and thus they would publicly disassociate themselves from them. "Both Livestream and Ustream officials say they simply operate platforms and are not supporting the movements(...)[they] removed advertising from the Occupy channels after some brands complained that they did not want their ads appearing next to streaming video of protesters"(Preston, 2011). Similarly, radio streaming has been a way for activists, protesters and citizens to share their own news and program. In times of war, citizens set up their own radio stations, that proposes alternative source of news and can't be censored by the government- radio technology can escape mainstream platforms, such as Internet, and thus avoid part of surveillance from top. In Syria for example, during war, activists built a radio station, called Radio Fresh, which, besides other things, was announcing strikes and battles for the safety of citizens (667: Wartime Radio, 2019). I will elaborate on the example in *Multiplication Vis a Vis Amplification*. This unaltered and direct speech of (radio/streaming) broadcasting has similarities with the uncontrolled direct expression of the female bodies in public (like 'hysteria', 'aischrologia', 'ololyga'). There is a fear of continuity related to the message that comes out, unedited, from the inside of the human 'container' and its channels. This continuity seems to me to be like an 'embodied streaming' that relates the medium with the human body, based on the need for a message to be articulated and distributed to others. Live streaming provides the opportunity for a body to be present somewhere else, with a slight delay, through the voice or a video representation.
@ -140,27 +161,21 @@ In ancient medical and anatomical theory women had two mouths, the upper and the
This uninterrupted continuity shows that what is important is not the message, but what is happening right now, at present. It also proposes practices of democracy. Allowing the message to be transferred unfiltered, suppressed needs and desires emerge. Thus, more people, with different needs, can be heard. This is akin to Chantal Mouffe's 'agonistic' model of democracy, in which there is not an external power that filters the message and no time for thinking about future utopias and realities, but only what is happening now (Mouffe, 2000a). It embraces a plural public space, allowing conflicts to happen naturally and diverse forms of articulation to exist. The democracy of agonism accepts all ideas, thoughts and concerns to be placed on the table. Streaming media, at the same time, reflects a sense of liveness and presence. As McLuhan says, media, like radio, are 'hot' because they are "bound to the present moment of the radio event on a continuous time axis" (Ernst, 2016, pg. 103). This means, that they create a feeling of immediate presence of the voice being broadcast. There is no time to reflect or edit the message. The audience receives it directly from the proprietor and can see clearly who is broadcasting, what is the source, what it looks like. I like to call that 'agonistic streaming', a mediated democracy which is based on liveness and unfiltered communication.
This uninterrupted continuity shows that what is important is not the message, but what is happening right now, at present. It also proposes practices of democracy. Allowing the message to be transferred unfiltered, suppressed needs and desires emerge. Thus, more people, with different needs, can be heard. This is akin to Chantal Mouffe's 'agonistic' model of democracy, in which there is not an external power that filters the message and no time for thinking about future utopias and realities, but only what is happening now (Mouffe, 2000a). It embraces a plural public space, allowing conflicts to happen naturally and diverse forms of articulation to exist. The democracy of agonism accepts all ideas, thoughts and concerns to be placed on the table. Streaming media, at the same time, reflects a sense of liveness and presence. As McLuhan says, media, like radio, are 'hot' because they are "bound to the present moment of the radio event on a continuous time axis" (Ernst, 2016, pg. 103). This means, that they create a feeling of immediate presence of the voice being broadcast. There is no time to reflect or edit the message. The audience receives it directly from the proprietor and can see clearly who is broadcasting, what is the source, what it looks like. I like to call that 'agonistic streaming', a mediated democracy which is based on liveness and unfiltered communication.
## Conclusion
## Conclusion
Marginalized modes of address share concerns that seem uninteresting for Western, formal, civilized society, which supports a democracy rooted in the politics of Ancient Greece. Because of these disparities, these marginalized modes of address are suppressed and regarded as ‘ugly’ forms. They are accused as such, because they express fear and they don't resemble to civilized ways of communication. They rather seem like 'primitive' behaviors which belong to the past and skip the rational sphere of speech. Thus, they are routinely filtered and censored before finding their expression in public. From my perspective, the medium used by these modes reflects their character. They are based on instant and urgent communication, liveness and a guerilla approach- temporary, short actions that intervene into an established regime for a while and then they disappear. Today, streaming media is used constantly by protesters or citizens to autonomously broadcast news and avoid government censorship. Streaming media is characterized by the distribution of unfiltered data, the sense of liveness and the continuity- direct distribution- of the message. In my opinion, this character may not lead to the establishment of dominant voices and totalitarian political systems, because it gives space to more concerns to come to public and do not pay attention in canonizing behaviors and systems. In this essay I wanted to highlight how the use of streaming media and the concept of streaming in general can be related to these 'ugly' forms of mediation, which have been an unrecognized part of political discourse since antiquity. This kind of media transmit 'ugly' things, according to a rational society, and marginalized people need this to communicate and find space for their own desires. These ugly things may subvert, also, the formal society. I think that the acceptance of continuity and direct mediation can facilitate more democratic processes. As "the prime task of democratic politics is not to eliminate passions or to relegate them to the private sphere in order to establish a rational consensus in the public sphere. Rather, it is to 'tame' those passions by mobilizing them towards democratic designs" (Mouffe, 2000b, pg. 149). Focusing more on the media that facilitate this process to happen can open possibilities and alternatives of democratic processes. 'Embodied streaming' suggests resistance, with our unfiltered/uncontrollable mediated present selves/bodies.
Marginalized modes of address share concerns that seem uninteresting for Western, formal, civilized society, which supports a democracy rooted in the politics of Ancient Greece. Because of these disparities, these marginalized modes of address are suppressed and regarded as ‘ugly’ forms. They are accused as such, because they express fear and they don't resemble to civilized ways of communication. They rather seem like 'primitive' forms of behavior which belong to the past and skip the rational sphere of speech. Thus, they are routinely filtered and censored before finding their expression in public. From my perspective, the medium used by these modes reflects their character. They are based on instant and urgent communication, liveness and a guerilla approach- temporary, short actions that intervene into an established regime for a while and then they disappear. Today, streaming media is used constantly by protesters or citizens to autonomously broadcast news and avoid government censorship. Streaming media is characterized by the distribution of unfiltered data, the sense of liveness and the continuity- direct distribution- of the message. In my opinion, this character may not lead to the establishment of dominant voices and totalitarian political systems, because it gives space to more concerns to come to public and do not pay attention in canonizing behaviors and systems. In this essay I wanted to highlight how the use of streaming media and the concept of streaming in general can be related to these 'ugly' forms of mediation, which have been an unrecognized part of political discourse since antiquity. This kind of media transmit 'ugly' things, according to a rational society, and marginalized people need this to communicate and find space for their own desires. These ugly things may subvert, also, the formal society. I think that the acceptance of continuity and direct mediation can facilitate more democratic processes. As "the prime task of democratic politics is not to eliminate passions or to relegate them to the private sphere in order to establish a rational consensus in the public sphere. Rather, it is to 'tame' those passions by mobilizing them towards democratic designs" (Mouffe, 2000b, pg. 149). Focusing more on the media that facilitate this process to happen can open possibilities and alternatives of democratic processes. 'Embodied streaming' suggests resistance, with our unfiltered/uncontrollable mediated present selves/bodies.
\pagebreak
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# General conclusion
# General conclusion
Considering the question of what does female and collective speech acts reveal and suggest for our societies, I have mapped different approaches of marginalized voices to inhabit public space. These modes of address are taking into consideration their embodiment and their specificity. They give a great emphasis on participation and listening, as opposed to an exclusive emphasis on delivery of a message, that dominant forms of articulation do. This embodied and situated action is performative, in that it produces a public space from which to speak. This space differs from the established institutional forums on which democracy is based.\
Considering the question of what does female and collective speech acts reveal and suggest for our societies, I have mapped different approaches of marginalized voices to inhabit public space. These modes of address take into consideration their embodiment and their specificity. They give a great emphasis on participation and listening, as opposed to an exclusive emphasis on delivery of a message, that dominant forms of articulation do. This embodied and situated action is performative, in that it produces a public space from which to speak. This space differs from the established institutional forums on which democracy is based.\
Looking back in time, ancient thinking about on the female voices- as an 'ugly' form of articulation- has affected the way women could speak in public up to the present day. Associating the female voices with bestiality and disorder provided an excuse for patriarchal society to silence women publicly and to restrict them in the private space of their homes. The female voices is associated with direct emotional vocalization, that resembles the vocal expressions of primitive oral cultures. The continuity of their speech, which connects their inside truths directly to the outside of their body, is confusing for men. Their mode of address is not the only, one that is submitted to filtration and control; the collective vocalization and any other form that deviates from the rational sphere of human nature, and threatens Western society, excludes them, despite its democratic profile. Women's messages contain 'irrational' passions and desires, and mediation of these messages, because of gender exclusion, happens outside of the main public platform, and with technologies that facilitate an expression characterized by urgency and directness. Practices, of those who are marginalized, embrace the multiplication and amplification of their voices in public, either using their bodies or low-tech apparatus. With these two ways they occupy the public domain. One of my main thoughts, has been around this idea of continuity of speech, that has been related to the two- mouthed female body. The relation between ways of prohibition of normative modes of address, and the mediation of a direct, unfiltered speech, suggests an 'embodied streaming'; a personal and horizontal way to express concerns in public uncontrolled by governments and representatives. All these approaches and practices are suggesting open and active spaces of democratic processes. Our society has entered a 'second orality'- a verbal expression that includes elements from oral cultures, but with the use of high technology- and its time that we take advantage of its agonistic dynamics.
Looking back in time, ancient thinking about female voices- as an 'ugly' form of articulation- has affected the way women could speak in public up to the present day. Associating the female voices with bestiality and disorder provided an excuse for patriarchal society to silence women publicly and to restrict them in the private space of their homes. The female voice is associated with direct emotional vocalization, that resembles the vocal expressions of primitive oral cultures. The continuity of their speech, which connects their inside truths directly to the outside of their body, is confusing for men. Their mode of address is not the only, one that is submitted to filtration and control; the collective vocalization and any other form that deviates from the rational sphere of human nature, and threatens Western society, excludes them, despite its democratic profile. Women's messages contain 'irrational' passions and desires, and mediation of these messages, because of gender exclusion, happens outside of the main public platform, and with technologies that facilitate an expression characterized by urgency and directness. Practices, of those who are marginalized, embrace the multiplication and amplification of their voices in public, either using their bodies or low-tech apparatus. With these two ways they occupy the public domain. One of my main thoughts, has been around this idea of continuity of speech, that has been related to the two- mouthed female body. The relation between ways of prohibition of normative modes of address, and the mediation of a direct, unfiltered speech, suggests an 'embodied streaming'; a personal and horizontal way to express concerns in public uncontrolled by governments and representatives. All these approaches and practices are suggesting open and active spaces of democratic processes. Our society has entered a 'second orality'– a verbal expression that includes elements from oral cultures, but with the use of high technology – and its time that we take advantage of its agonistic dynamics.
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# Notes
# Appendix 1
<aname="myfootnote1">1</a>: It is an international movement since 2011 for social and economic justice and new forms of democracy with meetings in public spaces
## Sample of my interview with Reni Hofmüller
"R.H.: We started doing it in the 1990s that the machinery was already quite small. It was simply easier to hide the transmitter, when it has the size of a cigarette pack. The transmitter they used before it was much bigger and it needed more electricity. So, we had this small transmitter, which had five watch power, so it was really weak- it just reach parts of the city of Graz- and then additionally we had a tape walkman to that. You have to think it's the beginning of the 1990s, so there is no mobile computers, accessible to us. There is no Internet, in the sense of how we use it now. (...) We have this small cigarette pack size transmitter more or less. And we have this also very small walkman. Both can function with batteries, because it was also not very long time that we broadcast. And the antenna, it is a Yagi antenna, but it is not the fixed one. (...) its foldable (...) And we would hang it on a tree. We would go to one of the hills outside the city, surrounding the city. And we knew those who control the frequency band. You know you have the official administration for defining who is actually aloud to broadcast and then you have different bodies of administration that actually control what is happening in the frequency band and we knew where they are and that they are constantly scanning what is happening in the band. The moment you switch on an additional transmitter they immediately see the pick and in a very short time- and I've seen them once doing it live- it takes them seconds to find out where you are. It is frustrating because 'chack' [sound of fingers] they have you. But then of course to actually catch you they have to physically go where you are. (...) we always broadcast on Sunday noon, 1 pm, so we knew this is when people have this Sunday late breakfast/brunch think and they can listen to us and that it would take the controlling body about 20 minutes to get from the place they are, a tower in the center of town, to the hill we were. So we had 18 minutes of broadcasting time and then we had to pack and disappear. (...) And then you just pack it in a little backpack, because it is so small, you can fold the antenna the two things are really small and you are taking a stroll in a Sunday afternoon"
<aname="myfootnote2">2</a>: "In NYC, a sound permit is required in order to use these devices in public, and the police may, or may not grant the permit" (NewYorkRawVideos, 2011, note)
- Ελιάνα Καναβέλη (2012) ‘Φύλο, φόβος και δημόσιος λόγος - Βαβυλωνία | Πολιτικό Περιοδικό’, Βαβυλωνία, 25 February. Available at: https://www.babylonia.gr/2012/02/25/filo-fovos-ke-dimosios-logos/ (Accessed: 26 November 2018).
- Ελιάνα Καναβέλη (2012) ‘Φύλο, φόβος και δημόσιος λόγος - Βαβυλωνία | Πολιτικό Περιοδικό’, Βαβυλωνία, 25 February. Available at: https://www.babylonia.gr/2012/02/25/filo-fovos-ke-dimosios-logos/ (Accessed: 26 November 2018).
@ -171,10 +186,6 @@ Looking back in time, ancient thinking about on the female voices- as an 'ugly'
- Birdsall, C. (2012) Nazi Soundscapes: Sound, Technology and Urban Space in Germany, 1933-1945. Amsterdam: Amsterdam University Press.
- Birdsall, C. (2012) Nazi Soundscapes: Sound, Technology and Urban Space in Germany, 1933-1945. Amsterdam: Amsterdam University Press.
- Butler, J. and Athanasiou, A. (2013) Dispossession: The Performative in the Political. 1 edition. Malden, MA: Polity.
- Butler, J. and Athanasiou, A. (2013) Dispossession: The Performative in the Political. 1 edition. Malden, MA: Polity.
- Carson, A. (1996) ‘The Gender of Sound’, in Glass, Irony and God. First Edition edition. New York: New Directions, pp. 119–142.
- Carson, A. (1996) ‘The Gender of Sound’, in Glass, Irony and God. First Edition edition. New York: New Directions, pp. 119–142.
- Moraine, S. (2011) ‘“Mic check!”: #occupy, technology & the amplified voice’, The Society Pages, 6 October. Available at: https://thesocietypages.org/cyborgology/2011/10/06/mic-check-occupy-technology-the-amplified-voice/ (Accessed: 6 December 2018).
- Mouffe, C. (2000)
-‘For an Agonistic Model of Democracy’, in The Democratic Paradox. London; New York: Verso, pp. 80–107.
-‘Politics and Passions: the Stakes of Democracy’, Ethical Perspectives, 7(2–3), pp. 146–150.
- Cochrane, K. (2013) ‘Nine inspiring lessons the suffragettes can teach feminists today’, The Guardian, 29 May. Available at: https://www.theguardian.com/world/2013/may/29/nine-lessons-suffragettes-feminists (Accessed: 3 March 2019).
- Cochrane, K. (2013) ‘Nine inspiring lessons the suffragettes can teach feminists today’, The Guardian, 29 May. Available at: https://www.theguardian.com/world/2013/may/29/nine-lessons-suffragettes-feminists (Accessed: 3 March 2019).
- Diakrousi, A. (2015) Empowerment of Gender Voice. Sound Acts in Victoria Square. Design Thesis. Tutor: Panos Kouros. University of Patras, Department of Architecture. Available at: https://issuu.com/angelikidiakrousi/docs/victoriasoundacts (Accessed: 8 February 2019).
- Diakrousi, A. (2015) Empowerment of Gender Voice. Sound Acts in Victoria Square. Design Thesis. Tutor: Panos Kouros. University of Patras, Department of Architecture. Available at: https://issuu.com/angelikidiakrousi/docs/victoriasoundacts (Accessed: 8 February 2019).
- Dunbar-Hester, C. (2014) ‘The tools of gender production’, in Bijker, W. E., Carlson, W. B., and Pinch, T. (eds) Low Power to the People: Pirates, Protest, and Politics in FM Radio Activism. Cambridge, Massachusetts: The MIT Press, pp. 53–68.
- Dunbar-Hester, C. (2014) ‘The tools of gender production’, in Bijker, W. E., Carlson, W. B., and Pinch, T. (eds) Low Power to the People: Pirates, Protest, and Politics in FM Radio Activism. Cambridge, Massachusetts: The MIT Press, pp. 53–68.
@ -184,6 +195,10 @@ Looking back in time, ancient thinking about on the female voices- as an 'ugly'
- Kanouse, S. (2011) ‘Take It to the Air: Radio as Public Art’, Art Journal, 70(3), pp. 86–99.
- Kanouse, S. (2011) ‘Take It to the Air: Radio as Public Art’, Art Journal, 70(3), pp. 86–99.
- Kinetz, E. (2006) ‘Hysteria: A new look at an old malady - Health & Science - International Herald Tribune’, The New York Times, 27 September. Available at: https://www.nytimes.com/2006/09/27/health/27iht-snhyst.2948479.html (Accessed: 3 March 2019).
- Kinetz, E. (2006) ‘Hysteria: A new look at an old malady - Health & Science - International Herald Tribune’, The New York Times, 27 September. Available at: https://www.nytimes.com/2006/09/27/health/27iht-snhyst.2948479.html (Accessed: 3 March 2019).
- Kogawa, T. (2008) ‘Radio in the Chiasme’, in Elisabeth Zimmermann et al. (eds) Re-Inventing Radio. Aspects of radio as art. Frankfurt am Main: Revolver, pp. 407–409.
- Kogawa, T. (2008) ‘Radio in the Chiasme’, in Elisabeth Zimmermann et al. (eds) Re-Inventing Radio. Aspects of radio as art. Frankfurt am Main: Revolver, pp. 407–409.
- Moraine, S. (2011) ‘“Mic check!”: #occupy, technology & the amplified voice’, The Society Pages, 6 October. Available at: https://thesocietypages.org/cyborgology/2011/10/06/mic-check-occupy-technology-the-amplified-voice/ (Accessed: 6 December 2018).
- Mouffe, C. (2000)
-‘For an Agonistic Model of Democracy’, in The Democratic Paradox. London; New York: Verso, pp. 80–107.
-‘Politics and Passions: the Stakes of Democracy’, Ethical Perspectives, 7(2–3), pp. 146–150.
- Ong, W. J. (2002) Orality and Literacy. 2 edition. London: Routledge.
- Ong, W. J. (2002) Orality and Literacy. 2 edition. London: Routledge.
- Preston, J. (2011) ‘Occupy Movement Shows Potential of Live Online Video’, The New York Times, 11 December. Available at: https://www.nytimes.com/2011/12/12/business/media/occupy-movement-shows-potential-of-live-online-video.html (Accessed: 6 December 2018).
- Preston, J. (2011) ‘Occupy Movement Shows Potential of Live Online Video’, The New York Times, 11 December. Available at: https://www.nytimes.com/2011/12/12/business/media/occupy-movement-shows-potential-of-live-online-video.html (Accessed: 6 December 2018).
- Rose Gibbs (2016) Speech Matters: Violence and the Feminist Voice, Institute of Contemporary Arts. Available at: https://archive.ica.art/bulletin/speech-matters-violence-and-feminist-voice (Accessed: 3 December 2018).
- Rose Gibbs (2016) Speech Matters: Violence and the Feminist Voice, Institute of Contemporary Arts. Available at: https://archive.ica.art/bulletin/speech-matters-violence-and-feminist-voice (Accessed: 3 December 2018).
@ -193,9 +208,12 @@ Rochester: Destiny Books
# Reference list
# Images
**pg.11**\
Diakrousi, 3 April 2019, *List of words and phrases, from Anne Carson's text The Gender of Sound, describing how female voices sound like*, collage, personal archive.\
**pg.?**
**pg.?**
*Vocal performance of Katalin Ladik in the film 'Berberian Sound Studio', 2012. Her performance intended to create atmospheres of demonic voices through a woman's body*, screenshot, viewed 24 March 2019, <https://www.youtube.com/watch?v=TY96Ma6YdtQ>.\
*Vocal performance of Katalin Ladik in the film 'Berberian Sound Studio', 2012. Her performance intended to create atmospheres of demonic voices through a woman's body*, screenshot, <https://www.youtube.com/watch?v=TY96Ma6YdtQ>, personal archive.\
**pg.?**
**pg.?**
*Cartoon from Riana Dunkan for Punch magazine*, image, Vázquez, J. F. (2018) ‘There are None so Deaf’, in Eckhardt, J., Grounds for Possible Music: On Gender, Voice, Language, and Identity. Errant Bodies Press, pp. 18–24.\
*Cartoon from Riana Dunkan for Punch magazine*, image, Vázquez, J. F. (2018) ‘There are None so Deaf’, in Eckhardt, J., Grounds for Possible Music: On Gender, Voice, Language, and Identity. Errant Bodies Press, pp. 18–24.\
@ -224,3 +242,5 @@ Gibbs, *Speech Matters: Violence and the Feminist Voice*, image, viewed 4 March
Miranda Zúñiga, *The Broadcast Cart transmitting*, image, viewed 4 March 2019, <http://www.ambriente.com/wifi/images/speaker1.jpg>.\
Miranda Zúñiga, *The Broadcast Cart transmitting*, image, viewed 4 March 2019, <http://www.ambriente.com/wifi/images/speaker1.jpg>.\
*Temporary Local Broadcast in action by artist Jack James*, image, viewed 4 March 2019, <https://static1.squarespace.com/static/53dabea7e4b06489b309657a/55645642e4b0b17b146b9ebf/55645659e4b08b2ebc72bb28/1432639069240/DSC_1595.JPG?format=750w>.
*Temporary Local Broadcast in action by artist Jack James*, image, viewed 4 March 2019, <https://static1.squarespace.com/static/53dabea7e4b06489b309657a/55645642e4b0b17b146b9ebf/55645659e4b08b2ebc72bb28/1432639069240/DSC_1595.JPG?format=750w>.
