This thesis comprisesseries 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 (exposed)
The thesis is a series of 6 essays which relate to the voice and its mediation. The texts deals 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*); collective voice affords the amplification and multiplication either with the aid of technology or embodied practices (see *Multiplication vis a vis amplification*); there is a fear of ugly forms of address which are connected to the female body _ blood, birth, death, mourning &c. These are forms of vocalization which are excluded public discourse which centers on “self-control”, “reason”. Such things are creating noise and disorder and "have to be kept" silent according to the patriarchal norms (see *transmittingugly things*). There are technologies for such things, 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 *oxymoron of democracy*). Practices of resistance (see *Let’s talk about unspeakable things*)
*This thesis comprisesseries 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*
*My thesis is about a timeline from ancient Greece to today. How the ancient structure of the terms of public and private separation....*
**Speech** is the rational human way of expressing personal stories, opinions. It is what differs human from animals according to the patriarchal principles on human nature (Carson...)
**Public Speech** is the ability to talk in public about individual or collective concerns
**Public Space** is the space that hosts collective decision making activities, democratic processes and freedom of speech. Though many contemporary public spaces are controlled spaces that exclude many modes of address. Big corporations and states are defining the public space and it is more a space of consuming and public access instead of a free space for expression. This space refers to either physical or digital (Sassen...). There is a big separation between private and public spaces that has been established since the ancient philosophy.
**Invididual/Collective**
**Individual empowerment** is the
**Democracy**
**Transmitting** is the act of passing, communicating, sending, to spread from one to another
**Amplification**
**Streaming** refers to the process of delivering, it is a steady current of a fluid, a technique for transferring data so that it can be processed as a steady and continuous stream.
**Streaming Media**
**Voice** is the vocal sound that comes from the inside of the body and articulates speech
**Mediated Voice**
**Female Voice** high-pitched, loud shouting, having too much smile in it, decapitated hen, heartchilling groan, garg, horrendous, howling dogs, being tortured in hell, deadly, ...........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 (from Carson)
Collective voice affords the amplification and multiplication either with the aid of technology or embodied practices.
## The mediation of voice through multiplication
*Examples of multiplication*
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 power. 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. This brings the conversation to the Speaker's Corner, "the home of free speech, where anyone can get on their soapbox and make their voice heard" (Coomes, 2015). This practice was very crucial in Occupy Movement <sup>[1](#myfootnote1)</sup>. Anyone could be a speaker and be heard by the people surrounding her/him. In the Occupy Wall Street, amplified sound devices, like microphone and megaphone, were not permitted in the city and the crowd could bot listen clearly to the speaker <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 used the 'human microphone', as they call it. This means that the crowd would repeat the words of the speaker for the benefit of those located in the rear. There the voice played an important role in the spreading of the speech to the farest points of the public space. "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 space of today. Even though many new technologies exist the public space seems to exist in a more primitive face to face communication and bodily expression under the context of public assemblies.
From my point of view, the Occupy Movement revealed a lot about the relation of the media technology with the presence and resistance, emerged as an amplified process, in public. What I find interesting is that those people because of their multilayered relation to technology are able to spread the words and make them viral in internet. This process is also a way to archive and make public bottom-up initiatives in public spaces. At the same time there is a temporarity in this action as platforms in internet are constantly changing or disappearing. So, the events and speeches are appearing in fragments of videos, transcriptions, conversations in forums. It is more like the users, protesters are leaving traces online as many as possible. As it can be seen from the Youtube videos of the Occupy Movements the crowd is using a lot of different media technologies, like their smartphones, to record or stream the words of the public speakers.
*The female collective voice (thrinos)?*
### Decentralized approach
Amplification through multitude (decentralized)
## The mediation of voice through amplification
According to Hanna Arendt the speech becomes possible with the existence of a group of people (public assemblies) and it is a civilized way to respond to violence. Suffragettes' speech-making workshops was a way to provide women with tools “with which to take their concerns out into the public domain” (Rose Gibbs, 2016). They focused on the voice because there is a uniqueness in it, that embodies the speaker and doesn’t apply to the abstract and bodiless universality of western thought. Even more, the voice through speech (songs, protest) connects one another in a group and at the same time keeps the individuality of the speaker. In contrast to mainstream political spheres the feminists, like anarchists, were looking for horizontal ways of communication were no voice was dominating over others. The speeches of African American women, in the first part of 19th century, were very intense as they were tolerating a lot of violence because of their gender and nationality. The brave speech of Sojourner Truth, "Ain't I a Woman?" was one of the first speech acts of women in public of that time. She made that speech after gaining her freedom and she became well-known anti-slavery speaker.
### Radio amplification
the access to technology and the relationship of amateur and expert
### Radio amplification-multiplication
Kanouse sees the use of prohibited technologies and the confrontation with these restrictions as a political act. An act that can propose an “anti-authoritarian radical democracy” (Kanouse, pg. 89) through the formation of small groups that learn to broadcast and produce alternate media cultures. An unlicensed broadcast can challenge what public art wants to: the creation of a public sphere willing to interrogate the “democratical” public space which is part of. (More on THe oxymoron)
The first project, called Talking Homes by John Brumit, was realized under the residency of Neighborhood Public Radio (little NPR) arts collective of Detroit. The author describes two iterations, part of this project, that broadcasted personal stories of inhabitants through transmitters located in their houses and other buildings, revealing the struggle and the daily routine of these people living in degraded neighbourhoods. 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 gossiping produced, to the public reframed clearer the struggle for the neighborhood than the big radio programmes. The engagement of the public, which was not the privileged audience of art spaces, was deep because of the use of a certified from FCC technology and it didn’t care for the more technical context about radios and frequencies. Both iterations followed the spirit of NPR characterized by the smallness, site-specificity and listener’s participation. Even though these small transmitters have not many listeners because of the smalll range, NRC sees that as a way to link people and thus negates the separation of practitioner and public mentioned before. The little NPR, in contrast to National Public Radio (big NPR), embraces amateurism on the base of “polymorphous”. In other words it embraces the instability, diversity, discomforts and the contradictions that produces.
The second project is The Public Broadcast Cart made by Ricardo Miranda Zuñiga, that is a portable home-made radio broadcasting the voice of the one driving the 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 the unusual object attracts even more their attention. A manual on how to make this object is published in its website, and this detailed explanation of the technology, even more than the other project, demystifies the technology. Based on the open source and 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, online and electromagnetic realm. The DIY electronic media empowers the individual and collective voice.
cars together playing the same frequency
take it to the air Detroit
max neuhaus people broadcasting different frequencies that compose a piece.
*cars together playing the same frequency https://www.youtube.com/watch?time_continue=28&v=GC8MIa98f-E
max neuhaus people broadcasting different frequencies that compose a piece.*
##Conclusion
### The collective voice vis a vis multiplication and amplification
*of amplification and examples of amplification in feminist movements*
unalterated speech of radio broadcasting and direct (Ernst, pg. 104) - non controlled speech by female bodies (like hysteria and aischrologia, ololyga)
filter with TCP
in streaming you dont have the time to edit and reflect
you just accept
it is like the agonistic model
no time for thinking about future utopias and realities but what is happening now. West Rotterdam what is happening now. Archive as a process for transmitting (storage or presence)
## other essay?
radio attempts
@ -46,3 +52,4 @@ The technologies/media/tools/practices that relate the embodied and the distant
- Rose Gibbs, Speech Matters: Violence and the Feminist Voice (2016)
- Federici, S. B. (2014) Caliban and the witch. 2., rev. ed. New York, NY: Autonomedia.
- 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.
our everyday experience of places" streaming media
our everyday experience of places" streaming media brussels
"Returning back to radio, Kanouse refers to the state regulations imposed on radio and specifically on FRC (Federal Radio Comission) in United States that restricted access to airwaves and permitted licensed transmissions only in low frequencies, so there will be no interferences with commercial frequencies. That had as a result the creation of a “public body” in the name of a homogenous public and the radio’s monopolization by mainstream entertainment and political commentary." (Kanouse, pg. 89?)
##point B: restrictions and surveillance in european countries on public assemblies.
