various

project/proposal.md

@@ -3,6 +3,8 @@
 Personal questions:
 Why people would care about this vocal presence/representation in public spaces? Because they want to talk about how they imagine the world around them, what experiences they have.
 
+inside outside gender separation
+female voice Amplification
 
 ## Titles
 
@@ -20,11 +22,16 @@ A social dreaming/ a social screaming
 Amplification of the female voice (collective voice)
 The mystification of the female voice/ the "annoying" noise
 ..Constructing understanding your own tools (streaming devices and apps) and access to the medium that amplifies the voice (privitization of medium, patriarchal structure)
+Thesis_V11_EssayForm.pdf ‎(file size: 150 KB, MIME type: application/pdf)
+File history
+Amplification from private to public
+Streaming from public to public, private to public, public to private, private to private
+
+Click on a date/time to view the file as it appeared at that time.
 Being present in the political spheres
 An intervention in public with less medium
 A guide on voice in public (the theoretical aspect of public space--the conceptual sphere)
 A guide on amplification. Relation of social and spatial
-Privacy
 
 
 ## Amplification
@@ -120,6 +127,8 @@ Leeszaal is my meeting point I visit the area, recording characteristic
 sounds from it, walk and then visit Leeszaal as a meeting point of these
 people that are related to that area.
 
+what: a publication of a collection of feminist practices from wiki/git to printable pdf
+
 why: occuping with sound, female ways of knowing, caring, concerning
 
 I will make my archive of recorded sounds open to the people that are

thesis/0. Introduction.md

@@ -2,10 +2,18 @@
 - Voluminous bodies
 - The volume of female voices
 - Knowing and inhabiting with your voice
+- Amplifying a collective female voice
+- The sounds of
 
 # Introduction
- 
+
-The thesis is a series of 5 essays which relate to the voice and its mediation. They address the voice as a feminist tool for communicating and an object of inhabiting space and presence. The texts deal particularly with the voice as a medium for collective practices (see *The roots of collective voice*). Historically, some voices and modes of addressing have been marginalized and shut out of the public domain (see *the monstrosity of female voice*); the collective voice represents the marginalized voice and the female voice is part of it. The former affords the amplification and multiplication either with the aid of technology or embodied practices (see *Multiplication vis a vis amplification*) that refuses the dominant ways of establishing presence; in the patriarchal democracy there is a fear of ugly forms of address which are connected to the female body _ blood, birth, death, mourning &c_ and other dark aspects and passions. These are forms of vocalization which are excluded public discourse which centers on “self-control” and “reason”. Such things are creating noise and disorder and "have to be kept" silent according to the patriarchal norms. But alternative mediums and forms of communication have been developed against that (see *transmitting  ugly things*). There are technologies for self-control and filtration. The men are taught to disport themselves in particular ways and they are taught to teach the women to be silent. In the current era we see how technologies serve to filter forms of collective voices; again this aims to reduce “noise” (see *Let’s talk about unspeakable things*).
+The last years my continuous concern lies on the presence of the marginalized female voice in public. During my previous studies I gradually realized how my gendered body has been silenced or marginalized since my early childhood through slight gestures from male figures or institutional powers that was obfuscating the situation. Observing/rethinking female members of my family, as well, female teachers, workers and immigrants of my early environment I found out different types of marginalization and silencing. Examples with it women working at home or the background of a company, interrupting them when articulating arguments in a political dialogue, underestimate her knowledge, taking care of everything aside to their own life, gossiping. I had also dealt with several experiences when in public space[more specific examples to voice]. The mediation of their voices and the way they were becoming present/visible, participants and visible in public space were interested me in my recent projects. My past projects reflect and respond to that concern. Sound as a form of art is put aside and its not so strong for a visual society. But artists that work on these topics have appropriated it. Oral history has also concerned feminists and other un-patriarchical structures. Its invisibility had metaphorically connected with them. The sound of voices reveals hidden supressed aspects and subjects of the society. The sound has to do invisibility, telepresence and marginal [text about proposal at Belfast]. In my project *Sound Acts in Victoria Square* I inserted the recorded sounds of women’s voices into existing conversations at a public square in Athens that was male dominated. First, I realized and recorded actions of conversations, within two months, with women in the square, as well as archived and ordered the collected material. Then I planned and realized the in-situ broadcasting of the collected sound material and the direction of the new relations and conversations with the public for one day in June 2015. Their voices came from a past time at the same place, when they were present physically. At another time only their words are present in the place and 'participate' in conversations in the square. From my text describing the project: "The broadcasted female voices were abruptly intervening into the existing conversations in the specific places, giving the impression of an non-invited 'absent' guest" (Diakrousi, 2015, pg. ) or I would say a mediated distant voice.
+
+Intersectionality and feminism proposed an interesting approach to work with. My ongoing research lead me to the public forums and public speeches and the technologies that facilitate them.    
+
+
+
+This thesis is a series of 5 essays which relate to the female and collective voice and its mediation. They address the voice as a feminist tool for communicating and an object of inhabiting space and presence. The texts deal particularly with the voice as a medium for collective practices (see *The roots of collective voice*). Historically, some voices and modes of addressing have been marginalized and shut out of the public domain (see *the monstrosity of female voice*); the collective voice represents the marginalized voice and the female voice is part of it. The former affords the amplification and multiplication either with the aid of technology or embodied practices (see *Multiplication vis a vis amplification*) that refuses the dominant ways of establishing presence; in the patriarchal democracy there is a fear of ugly forms of address which are connected to the female body _ blood, birth, death, mourning &c_ and other dark aspects and passions. These are forms of vocalization which are excluded public discourse which centers on “self-control” and “reason”. Such things are creating noise and disorder and "have to be kept" silent according to the patriarchal norms. But alternative mediums and forms of communication have been developed against that (see *transmitting  ugly things*). There are technologies for self-control and filtration. The men are taught to disport themselves in particular ways and they are taught to teach the women to be silent. In the current era we see how technologies serve to filter forms of collective voices; again this aims to reduce “noise” (see *Let’s talk about unspeakable things*).
 
 *This thesis comprises series of small 6 essays that will be reconfigured in the thesis : “ the monstrosity…”. All these essays have in common the separation between private and public; gender separation; the individual and collective insofar as they relate to the voice and how the voice is mediated from the past times to today*
 

thesis/00. Bibliography.md

@@ -1,17 +1,18 @@
 # Bibliography
 
-- 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.
-- Benjamin, W. (2008) The Work of Art in the Age of Mechanical Reproduction. 01 edition. Translated by J. A. Underwood. London: Penguin.
 - ‘Φύλο, φόβος και δημόσιος λόγος - Βαβυλωνία | Πολιτικό Περιοδικό’ (2012) Βαβυλωνία, 25 February. Available at: https://www.babylonia.gr/2012/02/25/filo-fovos-ke-dimosios-logos/ (Accessed: 26 November 2018).
-- 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.
+- Benjamin, W. (2008) The Work of Art in the Age of Mechanical Reproduction. 01 edition. Translated by J. A. Underwood. London: Penguin.
+- Berry, D. (2011) ‘Real-Time Streams’, in The Philosophy of Software: Code and Mediation in the Digital Age. 2011 edition. Basingstoke New York: Palgrave Macmillan, pp. 142–171.
 - Carson, A. (1996) ‘The Gender of Sound’, in Glass, Irony and God. First Edition edition. New York: New Directions, pp. 119–142.
-- 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).
+- Chantal Mouffe (2013) ‘Politics and passions: the stakes of democracy (2002)’, in Martin, J. (ed.) Chantal Mouffe: Hegemony, Radical Democracy, and the Political. 1 edition. London ; New York: Routledge, p. chapter11.
+- 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.
+- Ernst, W. (2016) ‘Experiencing Time as Sound’, in Chronopoetics. London ; New York: Rli, pp. 99–121 (102-111).
 - Federici, S. B. (2014) Caliban and the witch. 2., rev. ed. New York, NY: Autonomedia.
+- 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.
 - Lilja, M. (2017) ‘Dangerous bodies, matter and emotions: public assemblies and embodied resistance’, Journal of Political Power, 10(3), pp. 342–352. doi: 10.1080/2158379X.2017.1382176.
-- Panopoulos, P. (no date) ‘Μέσα: Φωνές των απόντων, αντινομίες της αναμετάδοσης(Inside/ Media: Voices of the Absent, Antinomies of Transmission) (Φωνές/ Fonés, 2016)’.
-- Ernst, W. (2016) ‘Experiencing Time as Sound’, in Chronopoetics. London ; New York: Rli, pp. 99–121 (102-111).
-- Berry, D. (2011) ‘Real-Time Streams’, in The Philosophy of Software: Code and Mediation in the Digital Age. 2011 edition. Basingstoke New York: Palgrave Macmillan, pp. 142–171.
-- Tetsuo, K. (no date) ‘Minima Memoranda: a note on streaming media’. Available at: http://anarchy.translocal.jp/non-japanese/minima_memoranda.html (Accessed: 12 October 2018).
 - Ong, W. J. (2002) Orality and Literacy. 2 edition. London: Routledge.
-- Chantal Mouffe (2013) ‘Politics and passions: the stakes of democracy (2002)’, in Martin, J. (ed.) Chantal Mouffe: Hegemony, Radical Democracy, and the Political. 1 edition. London ; New York: Routledge, p. chapter11.
+- Panopoulos, P. (no date) ‘Μέσα: Φωνές των απόντων, αντινομίες της αναμετάδοσης(Inside/ Media: Voices of the Absent, Antinomies of Transmission) (Φωνές/ Fonés, 2016)’.
 - 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).
+- Tetsuo, K. (no date) ‘Minima Memoranda: a note on streaming media’. Available at: http://anarchy.translocal.jp/non-japanese/minima_memoranda.html (Accessed: 12 October 2018).

thesis/2. Multiplication Vis a Vis Amplification.md

@@ -1,5 +1,5 @@
 # Multiplication Vis a Vis Amplification
-The mediation of all these marginalized modes of address (see "Monstrosity..." {I can put extracts of my essays as annotations}) is happening in conditions that escape the traditional ways of the main public platform, which is male and expert dominated. Practices have been developed in response to that. All of them have in common the localization, the small scale, the refuse of prohibition and specialization, the participation and presence of people and temporariness. In this essay I will present examples of such practices.
+The mediation of all these marginalized forms of voicing (see "Monstrosity..." {I can put extracts of my essays as annotations}) is happening in conditions that escape the traditional ways of the main public platform, which is male and expert dominated. Practices have been developed in response to that. All of them have in common the localization, the small scale, the refuse of prohibition and specialization, the participation and presence of people and temporariness. In this essay I will present examples of such practices.
 
 ## The mediation of voice through multiplication
 The urban space hosts several political activities like squatting, demonstrations, politics of culture and identity that are visible on the street and non dependent on massive media technologies. Such an example is the Speaker's Corner, "the home of free speech, where anyone can get on their soapbox and make their voice heard" (Coomes, 2015). Anyone becomes a speaker in a public street or square and can be heard by passengers by. This was a very crucial element in the Occupy Movement <sup>[1](#myfootnote1)</sup>; part of the occupy events would be public speeches often by philosophers, writers, academics, resistant figures(?) on the spot of the occupied space. The audience would may be very big and thus an amplifier was needed for the voice of the speaker to be heard to everyone. However, in the case of the Occupy Wall Street, amplified sound devices, like microphone and megaphone, were only allowed outside in the public spaces when a 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" (Pages, 2011). The participants of #occupy became the 'human microphone', as they call it. This means that all together 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). This is an interesting fact of the public outside physical space of today. Even though many new technologies of networking, amplification and communication emerge, the public space seems to exist in a more 'primitive' and embodied expression for the ones that lack platforms of representation. Saskia Sassen (2012, p.) observes that in the cities today a big mix of people coexist. The ones who lack power can make themselves present through face to face communication. According to her this condition reveals another type of politics and political actors, based on hybrid contexts of acting and outside of the formal system. Kanaveli (2012) says that something that is visible and can be heard is reality and can create and give power. Site specificity is also very characteristic here. <br>

thesis/3. Transmitting Ugly Things.md

@@ -1,6 +1,5 @@
 # Transmitting  Ugly Things
 *you are part of the stream*
-The marginalized modes of address share concerns that seem uninteresting or bad for the Western formal and civilized society, that supports a democracy rooting in the Ancient Greek politics. Because of their ugliness, they are suppressed and accused as ugly forms, then filtered and censored before they been expressed in public. They share unfiltered, unedited messages that overpass the rational sphere of speech. From my perspective the medium used by these modes reflects their character. They are based on instant and urgent communication, liveness, "hit and run" approach (from Multiplication...). Today streaming media is used constantly by protesters or citizens for broadcasting news by themselves that are not censored by the government. Streaming media is characterized by the distribution of unfiltered data, the sense of liveness and the continuity (direct distribution) of the message. In this essay I will explain how the use of streaming media and the concept of streaming in general can be related to these 'ugly' forms of mediation. How these kind of media transmits 'ugly' things, according to the rational society, that marginalized people need to communicate for establishing their own voice and find space for their own desires. I think that the acceptance of continuity and direct mediation can facilitate more democratic processes.
 
 ## What ugly things and the medium
 Marginalized people are mediating things that are unacceptable by the society, unspeakable, political incorrect, emotionally overwhelmed, disorderly. They are too personal, too emotional, too embodied. Carson in her text explains how the direct mode of address of women's voices is annoying for the patriarchal society since Ancient Greece. A woman would expose her inside facts that are supposed to be private data. Examples of these facts would be emotions that reveal pleasure or pain either from sexual encounters from before 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) and this reveals the fear of society for death, blood, darkness, the female body. This direct continuity and linkage between the inside and outside was a threat for the human nature and society as it was not filtrated through the rational toll of human, the '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. It is very common that women stay inside home when their men come out to the streets to protest or talk about their family concerns (Kanaveli, 2012, pg. )*example*.
@@ -34,6 +33,8 @@ Streaming media reflects a sense of liveness and presence. There is no time to r
 ## Conclusion
 The ugly forms of address are pushed away because they reveal the hidden dark side of a 'democratic' society. The allowance of them can become crucial for the democracy we want to be part of. 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, 2013). Focus more on the media that allow/facilitate this process to happen can open possibilities and alternatives of democratic processes.
 
+The marginalized modes of address share concerns that seem uninteresting or bad for the Western formal and civilized society, that supports a democracy rooting in the Ancient Greek politics. Because of their ugliness, they are suppressed and accused as ugly forms, then filtered and censored before they been expressed in public. They share unfiltered, unedited messages that overpass the rational sphere of speech. From my perspective the medium used by these modes reflects their character. They are based on instant and urgent communication, liveness, "hit and run" approach (from Multiplication...). Today streaming media is used constantly by protesters or citizens for broadcasting news by themselves that are not censored by the government. Streaming media is characterized by the distribution of unfiltered data, the sense of liveness and the continuity (direct distribution) of the message. In this essay I will explain how the use of streaming media and the concept of streaming in general can be related to these 'ugly' forms of mediation. How these kind of media transmits 'ugly' things, according to the rational society, that marginalized people need to communicate for establishing their own voice and find space for their own desires. I think that the acceptance of continuity and direct mediation can facilitate more democratic processes.
+
 *in ancient greece it was the dionysian*