Why people would care about this vocal presence/representation in public spaces? Because they want to talk about how they imagine the world around them, what experiences they have.
inside outside gender separation
female voice Amplification
## Titles
Network utterance- Overflowed emotions
Network utterance- Overflowed emotions
Occupy your stream
Occupy your stream
Screaming streaming
Screaming streaming
Storage or presence (from chronopoetics) - this is the binary I am dealing with
Storage or presence (from chronopoetics) - this is the binary I am dealing with
A social dreaming/ a social screaming
A social dreaming/ a social screaming
## Topics
Uncensored speech
Amplification of the female voice (collective voice)
The mystification of the female voice/ the "annoying" noise
..Constructing understanding your own tools (streaming devices and apps) and access to the medium that amplifies the voice (privitization of medium, patriarchal structure)
Uncensored speech
Amplification of the female voice (collective voice)
The mystification of the female voice/ the "annoying" noise
..Constructing understanding your own tools (streaming devices and apps) and access to the medium that amplifies the voice (privitization of medium, patriarchal structure)
File history/Click on a date/time to view the file as it appeared at that time.
Amplification from private to public
Streaming from public to public, private to public, public to private, private to private
Click on a date/time to view the file as it appeared at that time.
Being present in the political spheres
An intervention in public with less medium
Being present in the political spheres
An intervention in public with less medium
A guide on voice in public (the theoretical aspect of public space--the conceptual sphere)
A guide on amplification. Relation of social and spatial
Transmitting Ugly Things
Transmitting Ugly Things (relation to talking about damage/ Queering Damage)
*you are part of the stream*
## Amplification
https://en.m.wikipedia.org/wiki/Amplification
human microphone
cars together playing the same frequency
max neuhaus people broadcasting different frequencies that compose a piece.
Amplification through multitude (decentralized)
The female collective voice (thrinos)
## Amplification
https://en.m.wikipedia.org/wiki/Amplification
human microphone
cars together playing the same frequency
max neuhaus people broadcasting different frequencies that compose a piece.
Amplification through multitude (decentralized)
The female collective voice (thrinos)
## Methods
Methods of streaming: pi streaming, buffer file, baby phone
Radio utterances in public
Medidate with the voice of the frequencies like women in thrinos
Radio utterances in public
Medidate with the voice of the frequencies like women in thrinos
Reading rooms
Reading with a medium and different practices of presence
Reading rooms
Reading with a medium and different practices of presence
Discussion groups
Discussion groups
Fediverse multiplication
Fediverse multiplication
practices of geting "loud" and present--
listening to frequencies of malls-- issue of private and public
listening to frequencies of malls-- issue of private and public
amplification in abandoned public spaces, recording down where voice is appeared
create a radio station inside leeszaal and broadcast field recordings and conversations/ inside and outside
create a radio station inside leeszaal and broadcast field recordings and conversations/ inside and outside
leeszaal/ create group conversations or silent ones
Amplification live streaming
leeszaal/ create group conversations or silent ones
Amplification live streaming
The connection of the public physical amplification with digital, meeting the binaries (public, private, high-pitched, low pitched)
..Workshop: An utterance of mediated voices/ streamed and broadcasted depending on the time they are made/ sometimes they will sychronize
mouffe: "critical artistic practices subverting the dominant hegemony" different voices, infrastructures
..Workshop: An utterance of mediated voices/ streamed and broadcasted depending on the time they are made/ sometimes they will sychronize
Amplification and high-pitched voice outside of leeszaal
mouffe: "critical artistic practices subverting the dominant hegemony" different voices, infrastructures
create a poetic (audio) narrative emerging from the actual "real" contribution of people.
Amplification and high-pitched voice outside of leeszaal
include the aspect of the Caliban and the witch
create a poetic (audio) narrative emerging from the actual "real" contribution of people.
Qustumize your own streaming/digital space
include the aspect of the Caliban and the witch
using the questions from my question structure of 2015/ for space and medium
Workshop: Costumize your own streaming/digital speech space
using the questions from my question structure of 2015/ for space and medium
hackthon: where you ask the participants to explore a subject, through the development of a prototypes, from give a starting point.
workshop: where you bring in a certain technology/prototype/... and ask others to develop or explore it. More focused on a approach and see what that approach can lead to
(book) sprints: where the group writes collaboratively a manual / research text / book / and produces a wbesite/pdf/...
test session: where a given procedure/methods is tested on the participants and at the end feedback is given
...others or combinations of these
for the end:
hackthon: where you ask the participants to explore a subject, through the development of a prototypes, from give a starting point.
workshop: where you bring in a certain technology/prototype/... and ask others to develop or explore it. More focused on a approach and see what that approach can lead to
(book) sprints: where the group writes collaboratively a manual / research text / book / and produces a wbesite/pdf/...
test session: where a given procedure/methods is tested on the participants and at the end feedback is given
...others or combinations of these
*Questions
What medium represents you? And how you do it?*
*Questions
What medium represents you? And how you do it?*
## Refs
- Mohammed Malique. Bodega hni. Mijn stad is Mijn hart https://www.vpro.nl/programmas/tegenlicht/kijk/afleveringen/2018-2019/mijn-stad-is-mijn-hart.html
## Refs
- Mohammed Malique. Bodega hni. Mijn stad is Mijn hart https://www.vpro.nl/programmas/tegenlicht/kijk/afleveringen/2018-2019/mijn-stad-is-mijn-hart.html
- Nazi soundscapes. Birdsall
- Amplification of female voice women in Red writing articles in Wikipedia https://en.wikipedia.org/wiki/Women_in_Red
- Amplification of female voice women in Red writing articles in Wikipedia https://en.wikipedia.org/wiki/Women_in_Red
"media activists who are increasingly becoming cosmopolitan and detached from local communities and struggles." leeszaal
Media theorist Geert Lovink is apparently missing out on what is happening here amongst other places when he writes: "The Social Media Question: Where are the Alternatives?" poking at a broadly defined "geek class" and applying the term elitism to it. I have never met him and i believe he's well known.
"media activists who are increasingly becoming cosmopolitan and detached from local communities and struggles." leeszaal
Media theorist Geert Lovink is apparently missing out on what is happening here amongst other places when he writes: "The Social Media Question: Where are the Alternatives?" poking at a broadly defined "geek class" and applying the term elitism to it. I have never met him and i believe he's well known.
- Queering damage
## Diary notes
Poetics, the poetics of the medium, the poetics of the voice being metiated
Future: leaving the social sphere and the self, after the practice has been clear. Thinking of the condition of the medium, the device, the software, the technology/ the landscape of it, the low-tech, the abandonence. Metaphor of the human loneliness. Lonileness, how I experience it, and the connection with an object. The idea of it. Detachement of myself and the responsibilty of it.
# Proposals
## Streaming voices of West Rotterdam !!!I KEEP THAT ONE!!! Subterranean streams {#streaming_voices_of_west_rotterdam_i_keep_that_one_subterranean_streams}
It is a social project.Sound is used as a way to reveal things about
private and public, suppression of voices in that area with a broader
concern on how the voices are amplified. It is about revealing hidden
aspects of this Dutch area that it is connected How stories underneath
are revealed Sound excavation Where the private/public and gender
separation is present in that specific example. What modes of address
are present. How they are mediated. Is there a collective voice?
Leeszaal is my meeting point I visit the area, recording characteristic
sounds from it, walk and then visit Leeszaal as a meeting point of these
people that are related to that area.
what: a publication of a collection of feminist practices from wiki/git to printable pdf. A structure of a speaker listening to the surrouding and broadcasting back
why: occuping with sound, female ways of knowing, caring, concerning
I will make my archive of recorded sounds open to the people that are
related to the area and I will start conversations about them and their
personal connection with them. I wil give an object to discuss, like a
printed soundwave where they can annotate on it and then I will come
back with a new thing. THe process will be about involvement. Then
gradually this process will reveal topic that are important for them to
discuss and record voices or not. This process will create an archive of
sounds either recordings, findings, voices that maybe I will stream.
The process is about liveness. Spread the area\'s secret sides live. Its
also about \"re-membering of the past which, against the colonialist
practices of erasure and avoidance and the related desire to set time
aright, calls for thinking a certain undoing of time; a work of mourning
more accountable to, and doing justice to, the victims of ecological
destruction and of racist, colonialist, and nationalist violence, human
and otherwise -- those victims who are no longer there, and those yet to
come\" (Barad, 2018)
I am going introduce layers of mapping and I will reflect with my own
voice as well
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)
## Bibliography
- Carson, A. (1996) ‘The Gender of Sound’, in Glass, Irony and God. First Edition edition. New York: New Directions, pp. 119–142.
- Barad, K. (2018) ‘Troubling time/s and ecologies of nothingness: re-turning, re-membering, and facing the incalculable’, new formations: a journal of culture/theory/politics, 92(1), pp. 56–86.
- Beard, M. (2017) Women & Power: A Manifesto. 1 edition. New York: Liveright.
- 667: Wartime Radio (2019) This American Life. Available at: https://www.thisamericanlife.org/667/transcript (Accessed: 5 February 2019).
## Bibliography
- Carson, A. (1996) ‘The Gender of Sound’, in Glass, Irony and God. First Edition edition. New York: New Directions, pp. 119–142.
- Barad, K. (2018) ‘Troubling time/s and ecologies of nothingness: re-turning, re-membering, and facing the incalculable’, new formations: a journal of culture/theory/politics, 92(1), pp. 56–86.
- Beard, M. (2017) Women & Power: A Manifesto. 1 edition. New York: Liveright.
- 667: Wartime Radio (2019) This American Life. Available at: https://www.thisamericanlife.org/667/transcript (Accessed: 5 February 2019).
I want to explore voice and its ability to break binaries
Through performative and feedback actions I invite people to listen and talk in public
I want to make space through vocal and sound actions for the topic of gender binary to emerge
How can female voices get amplified in public space and networks
# Revisiting Podcasts/ Podcast Utterances
## what
Make a platform or object of interaction and leave people decide what to do with it
Relation to publishing:
'Revisiting podcasts' questions the establishment of authoritative/male voices that create exclusive speech platforms, along the assumption that voices have to be rational, authoritative (voice of expertise) etc. The intervention that changes the paradigm becomes a set of podcasts that revisit the sound material produced in situated amplification meetings and soundwalks. Every podcast includes the previous one, on a way that creates repetetive layers of the same material. Creating presence by repetetion.'Revisiting podcasts' are upsetting binaries such as male/female, expert/amateur, rational/irrational. It is about creating poetic (audio) narratives emerging from the contribution of people.
## How (example)
approaches of listening and participation and specificity instead of formal articulation of rhetorics
speech act-> making things-> making space
urgency of specificity
Future hypothesis/experiment:
Why not in the end invite people to add their own recordings/ introduce recording practice to them in the warm up exercises.
Imagining these sounds differently, add abstract animal terms.
scenario A. Amplification through multitude. I will create a digital platform, a common public place where the voices meet. Constructing your own tools (streaming devices and apps) and access to the medium that amplifies the voice (privitization of medium, patriarchal structure). People will contribute with their own voices (or writings?) online or from workshops/gatherings I will intitiate. I will broadcast them back to the public space of Leeszaal for example or use them as material for soundwalks.
scenario B. participatory performances in circles or immitating a model of democracy/ mediation? Borrowing practices of amplification embodied or mediated. Trying in Lesszaal, Piet Zwart
scenario C. Subterranean streams. suppression of voices in that area with a broader concern on how the voices are amplified. It is about revealing hidden aspects of this Dutch area that it is connected How stories underneath are revealed Sound excavation Where the private/public and gender separation is present in that specific example. What modes of address are present. How they are mediated. Is there a collective voice? Leeszaal is my meeting point I visit the area, recording characteristic sounds from it, walk and then visit Leeszaal as a meeting point of these people that are related to that area.
I will make my archive of recorded sounds open to the people that are related to the area and I will start conversations about them and their personal connection with them. I wil give an object to discuss, like a printed soundwave where they can annotate on it and then I will come back with a new thing. THe process will be about involvement. Then gradually this process will reveal topic that are important for them to discuss and record voices or not. This process will create an archive of sounds either recordings, findings, voices that maybe I will stream.
## why (intention)
silencing of women/ establishment of spaces and roles because of the relation between space and identity/ gender construction. Gender separation in public space
The process is about liveness. Spread the area's secret sides live.
I am going to introduce layers of mapping and I will reflect with my own voice as well
Archive as a process for transmitting (storage or presence)
approaches of listening and participation and specificity instead of formal articulation of rhetorics
speech act-> making things-> making space
urgency of specificity
## why (intention)
## Larger context
My research lies on feministc approaches on voice and presence. Sound art
specificity etc (from my thesis)
(from my thesis)
There is a mystification around the female voice since the base of the European though, the democracy of Ancient Greece. According to Anne Carson there is a patriarchical anxiety on the "annoying noise" that the female voice creates. The collective highpitched cry of women was not permitted to be exposed in the public civic arena where politics were discussed, mostly by men. Women were expressing the collective dark memories and emotions of a society. These unspeakable things had to stay hidden. In todays society this exclusion in public spaces and political spheres is still valid. I believe that the female voice is related to the collective voice that talks about the vulnerable side of the human nature. Aspects of our nature, like birth and death, have been repressed and demonized by religion and the state. The democracy that we are used to has an oxymoron inside. Privitized mediums are fascilitating democracy by empowering the individual. Public spaces as an extension of that are also privitized. But isn't a democratic arena a place where everyone can talk, everything comes to the table and decisions are made collectively?
## Plan
## Relation to publishing
## references
### listening
### speaking
## other projects
### The Parasitic Reading Room https://dprbcn.wordpress.com/2019/03/11/parasitic-reading-room/, https://issuu.com/ethel.baraona/docs/parasitic_reader_01, https://issuu.com/ethel.baraona/docs/parasitic_reader_02
### soundwalks/collective composition/voice
#### The Parasitic Reading Room https://dprbcn.wordpress.com/2019/03/11/parasitic-reading-room/, https://issuu.com/ethel.baraona/docs/parasitic_reader_01, https://issuu.com/ethel.baraona/docs/parasitic_reader_02
The Parasitic Reading Room expanded its reach with one of its most dynamics installment, an urban dérive across the irregular streets of the city in companion of a mobile radio (radioee.net), through a live broadcast of the public readings. In that moment, the “walking reading room” became a space of knowledge exchange, of joint efforts to keep the radio moving, of empathy and joyful, of different languages discussing together relevant topics, a space where to sing and to learn, a borderless open school.
It consists of readers (publication), headphones, radio broadcast. Different participants, one transmitter
My approach: collection of texts (reader) related to female voices and public speech, reading outside extracts of the reader that also contains sentenses of women meetings. We walk together outside and externalize the material produced from the different meetings. Record and listen to sounds from the city. Using the recorder or a mic with headphones? Need to make: the audio streaming.
Voices from different channels (?) describing something, with adjectives. Is it the female voice? It may be a live streaming of women broadcasting from different transmitters at the same time. Different spots? But coming online/on radiowaves together?
My approach: it could be that I ask women in Leeszaal to broadcast from different sources in the same place. Or just record themselves and listening to this after. Their voices could be played dpending on the time they are frecording themselves.
Ain Bailey's immersive multi-channel sound piece The Pitch Sisters (2012) is a composition challenging the notion of a 'preferred pitch' of a woman's voice, questioning restrictive heteronormative roles and who has the power to define gender ideals.
Ain Bailey's immersive multi-channel sound piece The Pitch Sisters (2012) is a composition challenging the notion of a 'preferred pitch' of a woman's voice, questioning restrictive heteronormative roles and who has the power to define gender ideals.
#### L' uovo o la Gallina http://oralsite.be/pages/AlessandroBosetti
"Discover how different flows of consciousness intertwine with each other by moving the cursor over the titles and click on the links appearing on the scrolling texts."
#### Alter Bahnhof Video Walk http://www.cardiffmiller.com/artworks/walks/bahnhof.html
Participants are able to borrow an iPod and headphones from a check-out booth. They are then directed by Cardiff and Miller through the station. An alternate world opens up where reality and fiction meld in a disturbing and uncanny way that has been referred to as "physical cinema". The participants watch things unfold on the small screen but feel the presence of those events deeply because of being situated in the exact location where the footage was shot. As they follow the moving images (and try to frame them as if they were the camera operator) a strange confusion of realities occurs. In this confusion, the past and present conflate and Cardiff and Miller guide us through a meditation on memory and reveal the poignant moments of being alive and present.
"In a one-day workshop, we will gather temporarily to wonder together about the potential queer analytics of microbial, animal, plant, mineral, cosmological technoscience, situating ourselves in these mundane and alluring scenes– as an invitation to consider these labours and imagine a collective life otherwise.(...)
We look to provide ourselves with a queer “doing” within sinister computed environments and instead of focusing on a co-flourishing of humans and nonhumans, we propose that we might pay attention to the damage, injury, harms and constraints placed on the possibilities of life and brought about through informatics/technosciences. If we focus on a genealogy of injury in queer studies, can we recognise a willingness to investigate darker aspects of experience? (...)This workshop is hence proposed as a collective how-to composition for partially reparative research – without guarantee!! . Absolutely dependant on the harms and methodological difficulties that each participant brings with her"
### technical methods
#### http://locusonus.org/soundmap/051/ Ability to mix different recordings in the website
#### http://www.tadeosendon.com/temporary-local-broadcast/ involvement of inhabitants
