- 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).
- radio in chiasme
- 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.
- 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).
- Federici, S. B. (2014) Caliban and the witch. 2., rev. ed. New York, NY: Autonomedia.
- 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).
**Transmitting** is the act of passing, communicating, sending, to spread from one to another
**Amplification**
**Amplification** to increase the strength or amount of. Especially : to make louder. A figure of speech that adds importance to increase its rhetorical effect https://en.m.wikipedia.org/wiki/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.
@ -30,6 +28,8 @@
**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)
@ -32,12 +32,6 @@ The dominant notion that men are the main operators of public sphere together wi
## Conclusion
The association of the female voice with bestiality and disorder justifies the tactic of patriarchal culture to ‘put a door’ on the female mouth since the ancient times. Different mechanisms have been developed to exclude specific forms of addressing from the public. This has lead to the division of private and public space based on gender?
# Bibliography
- Anne Carson, The Gender of Sound (2016)
- 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.
- ?Donna Haraway. Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective (1988)
- ‘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).
# Bibliography?
- ? Fasbinder, F. (2017) Use These 3 Vocal Techniques to Command the Room Like Margaret Thatcher and Obama, Inc.com. Available at: https://www.inc.com/fia-fasbinder/science-shows-people-respond-to-stronger-deeper-voices-how-to-train-your-voice-like-margaret-thatcher-obama.html (Accessed: 4 January 2019).
- my text on sound acts in victoria
- 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.
Collective voice affords the amplification and multiplication either with the aid of technology or embodied practices.
The mediation of all these marginalized modes of address is happening in conditions that escape the traditional ways of the main public platform, which is male dominated [describe more what it is, how it looks like]. 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, the presence of the people, the liveness and temporariness. In this essay I will present examples of such practices.
These forms of collective voice affords the amplification and multiplication either with the aid of technology or embodied practices?.
## The mediation of voice through 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.
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). Anyone can be a speaker in a public street or square and be heard by the people surrounding her/him and passengers by. This practice was very crucial 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 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 is is called. 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 space of today. Even though many new technologies of networking, amplification and communication exist, the public space seems to exist in a more 'primitive', face to face communication and embodied expression for the ones that lack platforms of representation?.
These speeches may be recorded may not, may be streamed may not.
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.
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.
@ -11,29 +17,29 @@ From my point of view, the Occupy Movement revealed a lot about the relation of
*The female collective voice (thrinos)?*
## 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 (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.
<imgsrc="https://archive.ica.art/sites/default/files/media/images/1200IMG_0682.JPG"alt="Girl in a jacket"style="width:500px;">
### 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)
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 https://www.youtube.com/watch?time_continue=28&v=GC8MIa98f-E
max neuhaus people broadcasting different frequencies that compose a piece.*
*Other examples: 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. More examples of amplification in feminist movements*
##Conclusion
### The collective voice vis a vis multiplication and amplification
*of amplification and examples of amplification in feminist movements*
https://en.m.wikipedia.org/wiki/Amplification
The collective voice vis a vis multiplication and amplification. The collective voice is spread through different ways of mediation that overpass the mainstream and dominant modes.
### Second orality_
The ‘secondary orality’. “At the same time, with telephone, radio, television and various kinds of sound tape, electronic technology has brought us into the age of 'secondary orality'.” (Ong, pg.13)
*Second orality_
“At the same time, with telephone, radio, television and various kinds of sound tape, electronic technology has brought us into the age of 'secondary orality'.” (Ong, pg.13)
Parallel or multiple presences in other places. “Radio and television have brought major political figures as public speakers to a larger public than was ever possible before modern electronic developments. Thus in a sense orality has come into its own more than ever before.” (Ong, pg. 135). Describing further with examples of media [radio, telephone, Skype, voice messages] that spread the voice in private or public spheres. Being here now and elsewhere. "Heidegger, in Being and Time and elsewhere,", "To the extent that it always relates us to the absent other, the telephone"(Telephone Book, Ronell)
Parallel or multiple presences in other places. “Radio and television have brought major political figures as public speakers to a larger public than was ever possible before modern electronic developments. Thus in a sense orality has come into its own more than ever before.” (Ong, pg. 135). Describing further with examples of media [radio, telephone, Skype, voice messages] that spread the voice in private or public spheres. Being here now and elsewhere. "Heidegger, in Being and Time and elsewhere,", "To the extent that it always relates us to the absent other, the telephone"(Telephone Book, Ronell)*
#Notes
<aname="myfootnote1">1</a>: It is an international movement since 2011 for social and economic justice and new forms of democracy with meetings in public spaces
@ -41,7 +47,7 @@ Parallel or multiple presences in other places. “Radio and television have bro
<aname="myfootnote2">2</a>: "In NYC, a sound permit is required in order to use these devices in public, and the police may, or may not grant the permit" (NewYorkRawVideos, 2011, note)
# Bibliography
# Bibliography?
- 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).
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).
@ -24,20 +24,21 @@ In the ancient medical and anatomical theory women had two mouths, the upper and
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 voice and gender
*streaming media in relation to voice and gender
streaming-> sense of liveness
streaming and continuity
unalterated speech of radio broadcasting and direct (Ernst, pg. 104) - non controlled speech by female bodies (like hysteria and aischrologia, ololyga)
filter with TCP
more techy
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)
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
*radio attempts
Radio pirates/amateurs and antennas. Reaching the invisible other or being that invisible other. Practices of establishing multiple ways of spreading the voice in different spaces. The activation of those spaces as public forums. Listening to ‘invisible’ subjectivities.
feminist futurotopias
@ -45,7 +46,7 @@ women in technology
The mediation of the voice as detachment of the speaker. “the mediating role of all kinds of media that detach voice from its physical proprietor and enable its circulation in places and contexts in which physical bodies may not have access. (Panopoulos)
The technologies/media/tools/practices that relate the embodied and the distant voice enhance the presence of the person carrying it or turns against her/him.
The technologies/media/tools/practices that relate the embodied and the distant voice enhance the presence of the person carrying it or turns against her/him.*
# Bibliography
- Inside/ Media: Voices of the Absent, Antinomies of Transmission
@ -7,4 +7,7 @@ rethinking this collective voice in the current media ecology
the practices of female voices (ololyga)-second chapter in relation to the technical familiriaty and tools of mediation that I develop further in third chapter
agonistic and art text
agonistic and art text
- ?Donna Haraway. Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective (1988)
