One of the mechanisms of marginalization of specific modes of addressing is the repetitive action of self-control that comes from the ancient tactic of control the emotional exposure of one's self. Carson (1996, pg. 126) says that patriarchal thinking on emotional and ethical matters is related to ‘sophrosyne’, self- control of the body. A man is feminized when he leaves his emotions come out of his mouth and so he has to control himself. "Females blurt out a direct translation of what should be formulated indirectly" (Carson, 1996, pg. 129). 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 of the daily use of loud and high-pitched voice. This means that they would practice public speech so to learn how to filter their insides when they come outside. The low-pitched voice would be the right one to use in public assemblies so to be taken seriously.
One of the mechanisms of marginalization of specific modes of addressing is the repetitive action of self-control that comes from the ancient tactic of control the emotional exposure of one's self. Carson (1996, pg. 126) says that patriarchal thinking on emotional and ethical matters is related to ‘sophrosyne’, self- control of the body. A man is feminized when he leaves his emotions come out of his mouth and so he has to control himself. "Females blurt out a direct translation of what should be formulated indirectly" (Carson, 1996, pg. 129). 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 of the daily use of loud and high-pitched voice. This means that they would practice public speech so to learn how to filter their insides when they come outside. The low-pitched voice would be the right one to use in public assemblies so to be taken seriously.
The female version of this term was perceived more as a way for men to silence women when they get loud or scream of pain or pleasure. As from their nature they weren't able to control themselves, their order was to be silenced. Silencing of 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 and events and there was a also a restriction over the duration, the content and the choreography of their rituals in funerals so that they wouldn’t create chaos and craziness. So, women’s public utterance restricted in cultural institutions expressing nothing more than a self- fulfilled prophecy. But there was a form of curing the women and city from this. In Dionysian festivals the task of one selected woman would be to discharge the unspeakable things on behalf of the city, that was called ‘aischrologia’ leading to ‘katharsis’. Carson (1996, pg. 133) observes that this act seems similar to the therapeutical practice of hypnosis by Freud on hysterical women. Their emotions, the unspeakable things, were polluting their inside and ‘talking cure’ or otherwise ‘katharsis’ would help them. Female is associated with the bad things of the collective memory. Freud would cure that by channeling these negative emotions through politically appropriated containers, through 'speech'.
The female version of this term was perceived more as a way for men to silence women when they get loud or scream of pain or pleasure. As from their nature they weren't able to control themselves, their order was to be silenced. Silencing of 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 and events and there was a also a restriction over the duration, the content and the choreography of their rituals in funerals so that they wouldn’t create chaos and craziness. So, women’s public utterance restricted in cultural institutions expressing nothing more than a self- fulfilled prophecy. But there was a form of curing the women and city from this. These unpleasant tendencies of them had to stay hidden from the men’s view because were 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, that was called ‘aischrologia’ leading to ‘katharsis’, which means the 'clearance' of the soul.‘Aischrologia’ (pg.132-133) seems similar to the therapeutic practice of hypnosis by Freud on hysterical women, who was aspiring this ancient idea. Their emotions, the unspeakable things, were polluting their inside and ‘talking cure’ or otherwise ‘katharsis’ would help them. Freud would cure that by channeling these negative emotions through politically appropriated containers, through 'speech'.
Complicated power relations create that exclusion and define the limits of dominant public spheres. The gender binary affects the social construction of space. Women, for example, are related to housewifization and the private sphere of the house.
Complicated power relations create that exclusion and define the limits of dominant public spheres. The gender binary affects the social construction of space. Women, for example, are related to housewifization and the private sphere of the house.
@ -9,18 +9,21 @@ From my point of view, the Occupy Movement revealed a lot about the relation of
*The female collective voice (thrinos)?*
*The female collective voice (thrinos)?*
gossiping -- baton effect
## The mediation of voice through amplification
## 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.
According to Hanna Arendt the speech becomes possible with the existence of a group of people. 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). Speech was a civilized way to respond to violence happening inside homes. 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 that identity I mean 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 in a conversation concerning her/his body. But according to them each person is unique and carries personal and situated problems and principles. Even more, the voice through speech- that can take the form of songs passing from the one person 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 the feminists, like anarchists, were looking for horizontal ways of communication were no voice was dominating over others. Listening everyone, even the most shy ones, is a basic element of this kind of practices.
### Radio amplification-multiplication
### 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)
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, amplification of voices- were tangled with the materiality and specificity of the medium....(hit and run actions)
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.
Since 1920 the 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 who noticed that it will be a failure as long as the separation between practitioners and public dominates 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 practiotioners, 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. 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)
She brings the example of a project, called Talking Homes by John Brumit, that 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 re-framed clearer the struggle for the neighborhood than the big radio programs. 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.
*cars together playing the same frequency https://www.youtube.com/watch?time_continue=28&v=GC8MIa98f-E
The second project that she talks about 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. 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, on-line and electromagnetic realm. The DIY electronic media empowers the individual and collective voice.
*cars together playing the same frequency https://www.youtube.com/watch?time_continue=28&v=GC8MIa98f-E, https://www.a-n.co.uk/events/temporary-local-broadcast/
max neuhaus people broadcasting different frequencies that compose a piece.*
max neuhaus people broadcasting different frequencies that compose a piece.*
These modes of addressing are perceived as ugly forms of saying things and their message seems uninteresting or bad and ugly for this formal and civilized society.They say/revealing/mediating things that are unacceptable by the society/ unspeakable, political incorrect, emotionally overwhelmed, disorderly.
At the same time because of their ugliness they are supressed and accused as ugly forms. They are unfiltered, unedited messages that overpass the rational sphere of speech. They are too personal, too emotional, too embodied. From my perspective the medium they use and the form they take also affects that character. Most of the times those mediums are characterized by instant communication, liveness, hit and run, fast/urgent communication (from Multiplication...). Streaming is one concept example.
## What ugly things
## What ugly things
Carson in her text explains how the direct mode of address of these women's voices was annoying for the patriarchal society. A woman would expose her inside facts that are supposed to be private data. The dark side and fear of death, blood the female body, "By projections and leakages of all kinds- somatic, vocal, emotional, sexual- females expose or expend what should be kept in" (Carson, 1996, pg. 129). Examples of these facts would be emotions that reveal pleasure or pain either from sexual encounters from before or the birth of a child. This direct continuity 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, '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 (text of Kanaveli).
Carson in her text explains how the direct mode of address of these women's voices was 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 the dark side and of death, blood the female body. This direct continuity 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, '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 of talk about their family concerns (text of Kanaveli).
As I described in "Monstrosity" one ugly form of address was an utterance, a high-pitched cry, called ‘ololyga’ and it is a ritual practice of women sometimes in important daily moments like death and the birth of a child. In their rituals women were also talking ugly and bad things. These unpleasant tendencies of them had to stay hidden from the men’s view. But in Dionysian festivals the task of one selected woman would be to discharge the unspeakable things on behalf of the city, that was called ‘aischrologia’ leading to ‘katharsis’.‘Aischrologia’ seems similar to the therapeutical practice of hypnosis by Freud on hysterical women. Their emotions, the unspeakable things, were polluting their inside and ‘talking cure’ or otherwise ‘katharsis’ would help them. A more recent one is 'hysteria', introduced by Freud, that expresses the psychic events within the woman's body
As I described in "Monstrosity" one ugly form of address was an utterance, a high-pitched cry, called ‘ololyga’ and it was a ritual practice of women sometimes in important daily moments like death and the birth of a child. This is a practice that is still valid in countries like Greece, Middle East and Morocco?. In their rituals women were also talking offensive bad things as described in "Monstrosity..." under the context of 'aischrologia'. A more recent one is 'hysteria', introduced by Freud, that expresses the psychic events within the woman's body. Female is associated with the bad things of the collective memory.
*aischrologia and unspeakable things in charge of the city pg.132-133
*pg. 134 kaminada
pg. 134 kaminada
"untoward event"*
"untoward event"*
Alternative ways of communication hidden in the private domains have been created in response to the exclusion of speech in public. Gossip, for example, "provides subordinated classes with a mode of communication beyond an official public culture from which they are excluded" (The Gossip, 2017, p.61). It is more an attempt to claim and exchange knowledge when there is no platform for them.
Alternative ways of communication hidden in the private domains have been created in response to the exclusion of speech in public. Gossip, for example, "provides subordinated classes with a mode of communication beyond an official public culture from which they are excluded" (The Gossip, 2017, p.61). It is more an attempt to claim and exchange knowledge when there is no platform for them. But even in the Ancient Greece this form was annoying. Alkaios describes how talkativeness annoyed him ('Monstrocity').
*Talkativness/ gossiping
*Talkativness/ gossiping
aimless conversation, example of Alkaios
the story of Plutarch (Carson, 1996, pg. 130)*
the sory of Plutarch (Carson, 1996, pg. 130)*
For feminists in the early 20th century the speech in public is externalizing the personal violence and suppression of women.
Other ugly things are the private and hidden events of family violence *For feminists in the early 20th century the speech in public is externalizing the personal violence and suppression of women.*.... Also protesters that reveal the not so nice structure of the state...
## Streaming media in relation to continuity
In the ancient medical and anatomical theory women had two mouths, the upper and the lower, connected through a neck. The lips of both of them guarded the “hollow cavity” (Carson, 1996, pg. 131) and they should remain closed.
Female is associated with the bad things of the collective memory. Freud would cure that by channeling these negative emotions through politically appropriated containers. Having two mouths that speak simultaneously is confusing and embarrassing and this creates ‘kakophony’.
## Streaming media in relation to continuity/unfiltered-unedited data
In the ancient medical and anatomical theory women had two mouths, the upper and the lower, connected through a neck. The lips of both of them guarded the “hollow cavity” (Carson, 1996, pg. 131) and they should remain closed. Having two mouths that speak simultaneously is confusing and embarrassing and this creates ‘kakophony’.
streaming media in relation to voice and gender
streaming media in relation to voice and gender
streaming-> sense of liveness
streaming-> sense of liveness
@ -32,8 +31,10 @@ unalterated speech of radio broadcasting and direct (Ernst, pg. 104) - non contr
filter with TCP
filter with TCP
in streaming you dont have the time to edit and reflect
in streaming you dont have the time to edit and reflect
but who is broadcasting, what is the source, how it looks like
you just accept
you just accept
it is like the agonistic model
it is like the agonistic model
there is not a power that filters it (example of personal licences and creative commons/ "oxymoron of democracy" technologies and nations that filter the unspeakable )
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)
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)
