[Explaining the structure of streaming in relation to the structure of female continuity in the beginning of the paragraph: Streaming online depends on protocols that can stream directly or indirectly filter with TCP]
@ -83,24 +83,26 @@ Multiplication could be seen as a way of manifesting parallel, multiple presence
## 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 [definition of amplification]. This means that somebody can amplify their voice with the use of a microphone so to strengthen the signal on the spot, and at the same time to make themselves loud and present, so as to be heard over dominant others. 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.[Relatively nazi soundscapes with the megaphone and the van/the history back]
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. Speech was a civilized way to respond to domestic violence. Feminists 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 the 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, like 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. Arendt () observes that the speech becomes possible with the existence of a group of people. 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, looked for horizontal ways of communication where no voice dominated over others (Gibbs, 2016). Listening and waiting for everyone to speak, even the most timid ones, is a basic element of these kind of practices.
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. [In an interview I had with Reni Hofmüller it was a hit and run action...the radio station was a fragile hardware. Text of Dunbar]\
Since 1920, radio was criticized as a wasteland of commercials and state propaganda. It was Bertolt Brecht that perceived it as transceiver to experiment with, and questioning its use, and Walter Benjamin [more on Benjamin text] who noticed that it would fail as long as the separation between practitioners and public dominated it. 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, 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 would imagine. 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, pg. 89) through the formation of small groups that learn to broadcast and produce alternative media cultures. An unlicensed broadcast can challenge what public art wants to; the creation of a public sphere willing to interrogate the “democracy” of which public space is a part of.\
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 [ref to Kanouse]. In other words, it embraces the instability, diversity, discomforts and the contradictions it produces.\
The second project that Kanouse talks about is *The Public Broadcast Cart* made by Ricardo Miranda Zuñiga, which 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.
*cars together playing the same frequency. Similar to multiplication https://www.youtube.com/watch?time_continue=28&v=GC8MIa98f-E, https://www.a-n.co.uk/events/temporary-local-broadcast/, http://www.tadeosendon.com/temporary-local-broadcast/*
These technologies of amplification devices, that relate the embodied and the distant voice, enhance the presence of the person carrying it. They give the ability to be here now and at the same time elsewhere [Heidegger, in Being and Time and elsewhere]. The mediating role of all kinds of media that detach the voice from its physical proprietor, enables "its circulation in places and contexts in which physical bodies may not have access" (Panopoulos, no date) and enables others to listen to that speaker even if they are not sharing the same space. The medium still creates bonds between them, and channels for sharing knowledge, it always relates us to the absent other through the sense of listening.[Telephone Book, Ronell]\
