@ -22,7 +22,7 @@ Even though voice is a medium for collective practice, as Walter Ong argues in h
My ongoing research lead me to the public forums, speech, and the technologies that facilitate them, from a feminist perspective.
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 tranition/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 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 irational. 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 mediums and forms of communication have been developed against this. Here I will 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 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 tranition/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 irational. 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 mediums and forms of communication have been developed against this. Here I will 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 the 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 everything in the family and neglecting their own desires and interests, men interrupting them when articulating arguments in a political or formal dialogue and routinely underestimating their knowledge. Growing up, I also came accross with 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 spaces and spheres became one of my principle interests. My past artistic projects reflected and 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 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 included and embraced voice in their practices because there is a uniqueness in it, that embodies the speakers and their personal stories, while connecting the 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 together with the gender exclusion. I quickly found out 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).
@ -45,12 +45,12 @@ Today women in public life worry if their voices are too light or high to comman
The mechanisms of marginalization of these specific modes of address are based on control and filtering. One example is the repetitive action of self-control that comes from the ancient tactic of controlling emotional exposure of one's own. Carson (1996, pg. 126) says that patriarchal thinking on emotional and ethical matters is related to ‘sophrosyne’, or self- control of the body. A man is feminized when he lets his emotions come out, and so he has to control his body, and subsequently himself. "Females blurt out a direct translation of what should be formulated indirectly" (Carson, 1996, pg. 129). It was believed that the masculine deep voice, by default, indicates self- control. So, the doctors of archaic periods would suggest exercises of oration to men to cure the damage inflicted by repeated use of a loud, high-pitched voice. This means that they would practice public speech so to learn how to filter their inner emotions when they were externalized. In addition to that, so as to be taken seriously, a low-pitched voice would be appropriate to use in public assemblies.\
The female version of this practice was perceived more as a way for men to silence women when they were loud or screamed from pain or pleasure. Because they weren't able to control themselves by nature, this inability was related to animal and 'primitive' human behaviors. Silencing women, the female ‘sophrosyne’, had been an object of legislative arrangements in the ancient world. Women didn’t have the license to express their ‘noise’ in specific places or events, and there was also a restriction on the duration, the content and the choreography of their rituals in funerals so that they wouldn’t create chaos and delirium. Silencing, today, has also to do with the interruption of women's voice when they express an argument in a dialogue. There was a way to cure the women and city from the chaos. Normally, these unpleasant female tendencies remained hidden from the men’s view because they were deemed annoying, non-human and disorderly. But in Dionysian festivals the task of one selected woman would be to discharge the unspeakable things on behalf of the city, in a practice which was called ‘aischrologia’, that lead to ‘katharsis’, which means the purification of the soul. She was free to express all these weird noises but only then and for the benefit of society. ‘Aischrologia’ seems similar to the therapeutic practice of hypnosis on hysterical women by Freud, who aspired to resurrect this ancient idea. Their emotions, and unspeakable things, were polluting them inside, and employing a ‘talking cure’ or in other words, ‘katharsis’ would help them. Freud's 'talking cure' was concerned with channeling these negative emotions through politically appropriated containers, through 'speech'(Carson, 1996, pg. 132-133).
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### Shut out of the public: Opposition of public and private space
Ancient Greek thinkers had set the gender binary and its reflection in space. The very first example of silecing of women indicated in literature, is in *Odyssey* where the young son of Odysseus, Telemachus, is in the great hall of the palace and describes the difficulties of Greeks warriors to return home. Then his mother,Penelope, asks him to change subject, because it is sad, and he says to her that speech is a man's business and that she should return to her private room and do her own business (Beard, 2017). This is how Western society starts with women's voices being excluded from public sphere. According to Kevin Fox Gotham (Ελιάνα Καναβέλη, 2012), territorial restrictions, identities and meanings are negotiable, as they are defined through social interaction and controversy. Thus, space is the material of human action and the outcome of social interactions. Western philosophical thought, based on ancient social structures, supports the division between the private and public domains. In public space everybody should be civilized and resolve conflicts through dialogue, but the interior of private spaces is ruled by a domestic power where violence is permitted. This separation has reached a point where men are the main political operators in public space. But the division is also between politicians and citizens, natives and immigrants, and experts and amateurs in rhetoric. Representations of gender and space are not immutable, but they consolidate dominant realities because of their repetition. Outside public spaces have historically been the main arena for male-gendered subjects. Public spaces reflect gender constructions that privatize men, and female subjects are expressing their needs and desires through male figures. The social life of the latter is restricted by the 'housewifization' and the private abode of the house. Dichotomy of public and private...\
The dominant notion that men are the main operators within the public sphere, together with the idea that women are vulnerable and weak, leads to the normalization of fear of women in outside spaces. The idea that women are excluded from public space because of male violence doesn't mean that men directly exclude women. There are complicated power relations that create this exclusion. Freedom of speech relates to political participation, and in theory everyone can have it, but in practice unwritten rules and power relations define what is going to be said, and to whom. The factor of fear intervenes in this. These rules construct the public sphere and restrict female subjects in expressing harmless thoughts. The voices and speeches of women in public are directed to 'non-listening ears' and they remain silent. In Radio Fresh in Syria, an example that will be mentioned in the next chapter, when women started to broadcast and host their own radio programs, an extremist group stopped them from keep speaking on air. They refused to listen to whatever they want to say, because they are women. They perceive female voices in public as a form of 'nakedness'. However, when women transformed technically their voices to male- technicians helped them to change electronically the quality of their voice as they speak in the microphone- everybody would listen carefully to their words. For the purpose of making their own radio programme and include their voices in airwaves they changed their gender of their voice. Their female body accepts a distortion in male. *Being somehow both interior and exterior, of a body and not of a body? Live, embodied and (always potentially) mediated, disembodied?*
The dominant notion that men are the main operators within the public sphere, together with the idea that women are vulnerable and weak, leads to the normalization of fear of women in outside spaces. The idea that women are excluded from public space because of male violence doesn't mean that men directly exclude women. There are complicated power relations that create this exclusion. Freedom of speech relates to political participation, and in theory everyone can have it, but in practice unwritten rules and power relations define what is going to be said, and to whom. The factor of fear intervenes in this. These rules construct the public sphere and restrict female subjects in expressing harmless thoughts. Throughout history, women can defend publicly themselves and their concerns in extreme circumstances, like when they have been raped, but not speak for men or their community (Beard, 2017). But even women that do claim their public voice they are treated as monsters or freakish androgynes...example of stein... The voices and speeches of women in public are directed to 'non-listening ears'. In Radio Fresh in Syria, an example that will be mentioned in the next chapter, when women started to broadcast and host their own radio programs, an extremist group stopped them from keep speaking on air. They refused to listen to whatever they want to say, because they are women. They perceive female voices in public as a form of 'nakedness'. However, when women transformed technically their voices to male- technicians helped them to change electronically the quality of their voice as they speak in the microphone- everybody would listen carefully to their words. For the purpose of making their own radio programme and include their voices in airwaves they changed their gender of their voice. Their female body accepts a distortion in male. *Being somehow both interior and exterior, of a body and not of a body? Live, embodied and (always potentially) mediated, disembodied?*
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@ -66,13 +66,13 @@ Ong mentions that “[a]t the same time, with telephone, radio, television and v
## The mediation of voice through multiplication
Urban space hosts several 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 of knowledge through verbal communication. Today the agonistic dynamics of primitive oral thought, which have affected 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). On the other hand, speech act, based on Wittgenstein's philosophical theories, is distinct from rhetoric and reasoned argument in that it includes real-life interactions and requires appropriate use of language within a given culture or context. It expresses requests, warnings, invitations, promises, apologies, predictions, and it is more than the description of a meaning; speech act embraces the way the language is used and communicates what should be done and not what does this mean. Speech act is a performative action, within which somebody performs, makes things happen and creates a space for them, rather than simply stating a fact. The presence of the bodies 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, 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 in the square, changing for a while its character, about their exclusion and how voice occupies space. In my current project,tempora I again create temporary spaces/platforms that occupy a proexisted public space for a while, like Leeszaal, through small moments pf this public space...\
A space, where is open for dialogue and speech acts, can facilitate a democracy of agonism. Part of the occupy events would be public speeches, often delivered by philosophers, writers, academics, resistance figures on the site of the occupied space. The audience would often be very big and thus 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" (Pages, 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 the ones that lack platforms of representation.\
A space, where is open for dialogue and speech acts, 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 thus 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" (Pages, 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 the ones that lack platforms of representation.\
Saskia Sassen (‘Saskia Sassen’, 2012) 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 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, the events and speeches appear in fragments of videos, transcriptions, and conversations in forums. It is more likely that the users, protesters are leaving 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 [more]. 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, the events and speeches appear in fragments of videos, transcriptions, and conversations in forums. It is more likely that the users, protesters are leaving 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)
Multiplication could be seen as a way of manifesting parallel, multiple presences in diverse private and public places. For example radio and television allowed public speakers, such as politicians, to speak simultaneously to so many people, situated in diverse places, than ever before. There are two ways of multiplication in the above examples. One is through a unified collective voice in public, and the other is messages through a networked web. The first one, includes the example of the 'human microphone' and 'ololyga', the female collective utterance. Even though the last may not be a direct expression of resistance, it was an alternative temporary and informal mode of address that was suppressed and used only for specific occasions, that became acceptable to the society at those times. The second case, the web, reminds me of the very ancient practice of gossiping. It has a negative connotation especially when connected with women. However, sometimes this is more an attempt to claim and exchange knowledge when there is no platform for those that practice it. In the relay of messages, the Internet and social media have the same 'baton effect' and even though this is misused by mainstream political voices, it also serves the voiceless.
Multiplication could be seen as a way of manifesting parallel, multiple presences in diverse private and public places. For example radio and television allowed public speakers, such as politicians, to speak simultaneously to so many people, situated in diverse places, than ever before. There are two ways of multiplication in the above examples. One is through a unified collective voice in public, and the other is messages through a networked web. The first one is about a performative action based on plurality of the 'bodies' involved. It includes the example of the 'human microphone' and 'ololyga', the female collective utterance. Even though the last may not be a direct expression of resistance, it was an alternative temporary and informal mode of address that was suppressed and used only for specific occasions, that became acceptable to the society at those times. The second case, the web, reminds me of the very ancient practice of gossiping. It has a negative connotation especially when connected with women. However, sometimes this is more an attempt to claim and exchange knowledge when there is no platform for those that practice it. In the relay of messages, the Internet and social media have the same 'baton effect' and even though this is misused by mainstream political voices, it also serves the voiceless.
## The mediation of voice through amplification
At some occasions, the amplification of the voice, as a mode of prohibition and presence, becomes possible both literally and metaphorically. This means that somebody can amplify their voice with the use of a microphone and megaphone so to strengthen the signal on the spot, and at the same time to make themselves loud and present, so as to be heard. For example, anti-fascist microphonic demonstrations in Greece, occupy a public square for a couple of hours using speakers, microphones or megaphones broadcasting music and speech. It was first Nazis, who used amplified technology to occupy public space. For example, in 1932, Nazis used vans with loudspeakers attached to the outside, in order to attract attention of the citizens. During the election campaign, they would rent a van like that and play speeches, songs and party slogans. This *Lautsprecherwagen*, as it was called, “opened up the possibility for penetrating public and private spaces with amplified sounds” (Birdsall, 2012, pg. 39). At the same time, the amplification achieved by the vans intensified an ‘acoustic conflict’, which means that Nazis would dominate the city with mediated acoustic technology, overriding the sounds of political opponents. Hitler would use multiple technologies- such as radio, loudspeakers, Lautsprecherwagen- at the same time and constantly. Multiplication and amplification were his main approaches for establishing presence over others and influence the citizens. The difference with the examples given above is that he would enforce silence on the citizens, who were listeners and never broadcasters of their own speeches. The Nazi party had the economic capability to use advanced technology for propaganda. Later on, these technologies became more accessible and used by protesters, anarchists and leftist groups to declare presence and being heard in private an public spaces of the city, resisting the dominant voice of the state.
@ -109,7 +109,7 @@ The mediation of marginalized forms of voicing is happening in conditions that e
## 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. \
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, talk collectively about the unfair economic and political structure of the society 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 express passion, vulnerabilities and unfulfilled desires with their voices and presence. 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 elit 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.
## 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.
@ -147,6 +147,7 @@ Looking back in time, ancient thinking about on the female voices- as an 'ugly'
- Beard, M. (2017) Women & Power: A Manifesto. 1 edition. New York: Liveright.
- 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.
- 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.
- Carson, A. (1996) ‘The Gender of Sound’, in Glass, Irony and God. First Edition edition. New York: New Directions, pp. 119–142.
- Mouffe, C. (2000)
-‘For an Agonistic Model of Democracy’, in The Democratic Paradox. London; New York: Verso, pp. 80–107.
@ -160,7 +161,6 @@ 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.
- 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.
- 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.
- 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).
- 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).
