<h2style="text-align: left !important;"><ahref="podcast1.php"target="_blank">About</a></h2>
<h2style="text-align: left !important;"><ahref="podcast1.php"target="_blank">About</a></h2>
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'Amplified Utterances' is an online platform that supports a space for exploration and research, regarding voice in public and its amplification, developed by Angeliki Diakrousi. It consists of a set of experiments that 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 an archive of audio recordings produced in situated meetings and soundwalks. Every podcast exists on a way that creates repetetive layers of the same material. I perceive amplification as a way to create presence many times through repetition and multiplication. 'Podcast Utterances' is upsetting binaries such as male/female, expert/amateur, rational/irrational. It is about creating poetic (audio) narratives emerging from the contribution of people.
'Amplified Utterances' is an online platform that supports a space for exploration and research, regarding voice in public and its amplification, developed by Angeliki Diakrousi. It consists of a set of experiments that 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 <divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">a set of podcasts <divclass="tooltip-content-right"><div>what conflicts or frictions the technical aspect provokes?</div></div></div>that revisit an archive of audio recordings produced in situated meetings and soundwalks. Every podcast exists on a way that creates repetetive layers of the same material. I perceive amplification as a way to create presence through repetition and multiplication. 'Amplified Utterances' is upsetting binaries such as male/female, expert/amateur, rational/irrational. It is about creating poetic (audio) narratives emerging from the contribution of people.
It is a collection of audio recordings coming from meetings I co-organise, internet sources, podcasts and soundwalks on amplification of female and collective voices, by Angeliki. '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 <divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">a set of podcasts <divclass="tooltip-content-right"><div>what conflicts or frictions the technical aspect provokes?</div></div></div>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
<h2style="text-align: left !important;"><ahref="amplification.html"target="_blank">Amplification of female voices</a></h2>
<h2style="text-align: left !important;"><ahref="amplification.html"target="_blank">Amplification of female voices</a></h2>
<divclass="drag-content">How can we engage politically with the exclusion of specific voices from the public sphere? Here I document my attempts to create a safe common space of trying methods and discussing that topic in Leeszaal, an open library that I consider a diverse public space. I am borrowing methods from feminist groups and protest movements and vocal warming up exercises by Pauline Oliveros. For example, protesters would amplify the speaker's voice by repeating collectively their speech to make their presence visible. Feminists would create safe spaces where women could speak about domestic violence and make a dialogue based on listening. Some methods are vocal performances in situ, the "human microphone", speech acts, listening practices, making podcasts, mediating speech, transform our voices, situated experiments. I am doing that together with Christina Karagianni, who is also from Greece and with whom I share similar experiences of silencing. We combine our practices -her practice lies on choreography and dance and mine on social interaction, voice and sound- and try vocal exercises and reading in moments of Leeszaal.<divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">We invite <divclass="tooltip-content-right"><div>how we should approch the gender terminology and false association with voice when inviting people? Should it be about femme sounding? Female voice? </div></div></div>people from Leeszaal and our environment, who find themselves related and interested to this topic. Elements from the meetings: discuss previous material, reading extracts in random order, <divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">discuss <divclass="tooltip-content-right"><div>what conflicts or frictions the technical aspect provokes?</div></div></div>personal associations and experiences with voice in public, warm up, say a sentence of personal experience in any language, transcribe only the vowels, read back the vowels, read outloud all together the score of vowels, repeat sentences with distorted voice, make podcasts.</div>
<divclass="drag-content">How can we engage politically with the exclusion of specific voices from the public sphere? Here I document my attempts to create a safe common space of trying methods and discussing that topic in Leeszaal, an open library that I consider a diverse public space. I am borrowing methods from feminist groups and protest movements and vocal warming up exercises by Pauline Oliveros. For example, protesters would amplify the speaker's voice by repeating collectively their speech to make their presence visible. Feminists would create safe spaces where women could speak about domestic violence and make a dialogue based on listening. Some methods are vocal performances in situ, the "human microphone", speech acts, listening practices, making podcasts, mediating speech, transform our voices, situated experiments. I am doing that together with Christina Karagianni, who is also from Greece and with whom I share similar experiences of silencing. We combine our practices -her practice lies on choreography and dance and mine on social interaction, voice and sound- and try vocal exercises and reading in moments of Leeszaal.<divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">We invite <divclass="tooltip-content-right"><div>how we should approch the gender terminology and false association with voice when inviting people? Should it be about femme sounding? Female voice? </div></div></div>people from Leeszaal and our environment, who find themselves related and interested to this topic. Elements from the meetings: discuss previous material, reading extracts in random order, <divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">discuss <divclass="tooltip-content-right"><div>what conflicts or frictions the technical aspect provokes? web-audio, recordings</div></div></div>personal associations and experiences with voice in public, warm up, say a sentence of personal experience in any language, transcribe only the vowels, read back the vowels, read outloud all together the score of vowels, repeat sentences with distorted voice, make podcasts.</div>
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<h2style="text-align: left !important;"><ahref=""target="_blank">Diary of West Rotterdam</a></h2>
<h2style="text-align: left !important;"><ahref=""target="_blank">Diary of West Rotterdam</a></h2>
<iframestyle="display: hidden;"width="250"src="https://www.youtube.com/embed/HlvfPizooII"frameborder="0"allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture"allowfullscreen></iframe>Angela Davis @Occupy Wall Street
<aclass="internet"href="https://www.youtube.com/watch?v=TY96Ma6YdtQ"target="popup"onclick="window.open('https://www.youtube.com/watch?v=TY96Ma6YdtQ','popup','width=600,height=600'); return false;">Vocal performance of Katalin Ladik in the film ‘Berberian Sound Studio’, 2012</a>
<aclass="internet"href="https://www.youtube.com/watch?v=TY96Ma6YdtQ"target="popup"onclick="window.open('https://www.youtube.com/watch?v=TY96Ma6YdtQ','popup','width=600,height=600'); return false;">Vocal performance of Katalin Ladik in the film ‘Berberian Sound Studio’, 2012</a>
How can we engage politically with the exclusion of specific (female) voices from the public sphere through our own voice? Here I document my attempts to create a safe common space of discussing that topic in Leeszaal, that I consider a diverse public space, where we can explore our public voices in situ, and trying out vocal performances. I am doing that together with Christina Karagianni, who is also from Greece and with whom I share similar experiences of silencing. We combine our practices -her practice lies on choreography and mine on social interaction and sound- and try vocal exercises and reading in moments of Leeszaal. Structure of the meetings: reading extracts in random order, discuss peronal associations, warm up, say a personal sentence in any language, transcribe only the vowels, read back the vowels, sing all together the score of vowels.
How can we engage politically with the exclusion of specific (female) voices from the public sphere through our own voice? Here I document my attempts to create a safe common space of discussing that topic in Leeszaal, that I consider a diverse public space, where we can explore our public voices in situ, and trying out vocal performances. I am doing that together with Christina Karagianni, who is also from Greece and with whom I share similar experiences of silencing. We combine our practices -her practice lies on choreography and mine on social interaction and sound- and try vocal exercises and reading in moments of Leeszaal.<divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">We invite <divclass="tooltip-content-right"><div>how we should approch the gender terminology and false association with voice when inviting people? Should it be about femme sounding? Female voice? </div></div></div>women from Leeszaal. Structure of the meetings: reading extracts in random order, <divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">discuss <divclass="tooltip-content-right"><div>what conflicts or frictions the technical aspect provokes?</div></div></div>personal associations and experiences with voice in public, warm up, say a personal sentence in any language, transcribe only the vowels, read back the vowels, sing all together the score of vowels.
<aclass="internet"href="https://www.youtube.com/watch?v=SirOxIeuNDE"target="popup"onclick="window.open('https://www.youtube.com/watch?v=SirOxIeuNDE','popup','width=600,height=600'); return false;">Laurie Anderson - Mach 20</a>
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<aclass="internet"href="https://www.thisamericanlife.org/667/wartime-radio"target="popup"onclick="window.open('https://www.thisamericanlife.org/667/wartime-radio','popup','width=600,height=600'); return false;">Ballout, D. (2019) ‘Good Morning, Kafranbel’, This American Life: Wartime Radio</a>
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<aclass="internet"href="https://www.youtube.com/watch?v=TY96Ma6YdtQ"target="popup"onclick="window.open('https://www.youtube.com/watch?v=TY96Ma6YdtQ','popup','width=600,height=600'); return false;">Vocal performance of Katalin Ladik in the film ‘Berberian Sound Studio’, 2012</a>
<aclass="internet"href="https://www.youtube.com/watch?v=SirOxIeuNDE"target="popup"onclick="window.open('https://www.youtube.com/watch?v=SirOxIeuNDE','popup','width=600,height=600'); return false;">Laurie Anderson - Mach 20</a>
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<aclass="internet"href="https://www.thisamericanlife.org/667/wartime-radio"target="popup"onclick="window.open('https://www.thisamericanlife.org/667/wartime-radio','popup','width=600,height=600'); return false;">Ballout, D. (2019) ‘Good Morning, Kafranbel’, This American Life: Wartime Radio</a>
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<aclass="internet"href="https://www.youtube.com/watch?v=TY96Ma6YdtQ"target="popup"onclick="window.open('https://www.youtube.com/watch?v=TY96Ma6YdtQ','popup','width=600,height=600'); return false;">Vocal performance of Katalin Ladik in the film ‘Berberian Sound Studio’, 2012</a>
<p>I recorded sounds from West Rotterdam, while walking around a neighborhood for several days. This action was part of my first experiments when I was in attempt to understand how gender binaries regarding voice are reflected in space, especially public space.
<divclass="tooltip-wrap"style="text-decoration:underline;"><imgsrc="texts/thesis/carson-list.jpg"style="width: 100%"></img><divclass="tooltip-content-right"><div>this is how female/high-pitched voices have been described since acient times as Anne Carson observes</div></div></div>
<divclass="tooltip-wrap"style="text-decoration:underline;"><imgsrc="texts/thesis/carson-list.jpg"style="width: 100%"></img><divclass="tooltip-content-right"><div>this is how female/high-pitched voices have been described since acient times as Anne Carson observes</div></div></div>
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<h2style="text-align: left !important;"><ahref="podcast1.php"target="_blank">Podcasts</a></h2>
<h2style="text-align: left !important;"><ahref="podcast1.php"target="_blank">Podcasts</a></h2>
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<h2style="text-align: left !important;"><ahref="texts/thesis/thesis-angeliki.html"target="_blank">Let' s Talk About Unspeakable Things</a></h2>
<h2style="text-align: left !important;"><ahref="texts/thesis/thesis-angeliki.html"target="_blank">Let' s Talk About Unspeakable Things</a></h2>
<h2style="text-align: left !important;"><ahref="amplification.html"target="_blank">Amplification of female voices</a></h2>
<h2style="text-align: left !important;"><ahref="amplification.html"target="_blank">Amplification of female voices</a></h2>
<divclass="drag-content">How can we engage politically with the exclusion of specific (female) voices from the public sphere through our own voice? Here I document my attempts to create a safe common space of discussing that topic in Leeszaal, that I consider a diverse public space, where we can explore our public voices in situ, and trying out vocal performances. I am doing that together with Christina Karagianni, who is also from Greece and with whom I share similar experiences of silencing. We combine our practices -her practice lies on choreography and mine on social interaction and sound- and try vocal exercises and reading in moments of Leeszaal.<divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">We invite <divclass="tooltip-content-right"><div>how we should approch the gender terminology and false association with voice when inviting people? Should it be about femme sounding? Female voice? </div></div></div>women from Leeszaal. Structure of the meetings: reading extracts in random order, <divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">discuss <divclass="tooltip-content-right"><div>what conflicts or frictions the technical aspect provokes?</div></div></div>personal associations and experiences with voice in public, warm up, say a personal sentence in any language, transcribe only the vowels, read back the vowels, sing all together the score of vowels.</div>
<divclass="drag-content">How can we engage politically with the exclusion of specific voices from the public sphere? Here I document my attempts to create a safe common space of trying methods and discussing that topic in Leeszaal, an open library that I consider a diverse public space. I am borrowing methods from feminist groups and protest movements and vocal warming up exercises by Pauline Oliveros. For example, protesters would amplify the speaker's voice by repeating collectively their speech to make their presence visible. Feminists would create safe spaces where women could speak about domestic violence and make a dialogue based on listening. Some methods are vocal performances in situ, the "human microphone", speech acts, listening practices, making podcasts, mediating speech, transform our voices, situated experiments. I am doing that together with Christina Karagianni, who is also from Greece and with whom I share similar experiences of silencing. We combine our practices -her practice lies on choreography and dance and mine on social interaction, voice and sound- and try vocal exercises and reading in moments of Leeszaal.<divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">We invite <divclass="tooltip-content-right"><div>how we should approch the gender terminology and false association with voice when inviting people? Should it be about femme sounding? Female voice? </div></div></div>people from Leeszaal and our environment, who find themselves related and interested to this topic. Elements from the meetings: discuss previous material, reading extracts in random order, <divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">discuss <divclass="tooltip-content-right"><div>what conflicts or frictions the technical aspect provokes? web-audio, recordings</div></div></div>personal associations and experiences with voice in public, warm up, say a sentence of personal experience in any language, transcribe only the vowels, read back the vowels, read outloud all together the score of vowels, repeat sentences with distorted voice, make podcasts.</div>
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<h2style="text-align: left !important;"><ahref=""target="_blank">Diary of West Rotterdam</a></h2>
<h2style="text-align: left !important;"><ahref=""target="_blank">Diary of West Rotterdam</a></h2>
<divclass="drag-content"><p>I recorded sounds from West Rotterdam, while walking around a neighborhood for several days. This action was part of my first experiments when I was in attempt to understand how gender binaries regarding voice are reflected in space, especially public space.
<divclass="drag-content"><p>I recorded sounds from West Rotterdam, while walking around a neighborhood for several days. This action was part of my first experiments when I was in attempt to understand how gender binaries regarding voice are reflected in space, especially public space.
<iframestyle="display: hidden;"width="250"src="https://www.youtube.com/embed/HlvfPizooII"frameborder="0"allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture"allowfullscreen></iframe>Angela Davis @Occupy Wall Street
<aclass="internet"href="https://www.youtube.com/watch?v=TY96Ma6YdtQ"target="popup"onclick="window.open('https://www.youtube.com/watch?v=TY96Ma6YdtQ','popup','width=600,height=600'); return false;">Vocal performance of Katalin Ladik in the film ‘Berberian Sound Studio’, 2012</a>
<aclass="internet"href="https://www.youtube.com/watch?v=TY96Ma6YdtQ"target="popup"onclick="window.open('https://www.youtube.com/watch?v=TY96Ma6YdtQ','popup','width=600,height=600'); return false;">Vocal performance of Katalin Ladik in the film ‘Berberian Sound Studio’, 2012</a>
<p>you are invited to <divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">amplify<divclass="tooltip-content-right"><div>Protesters in occupy wall street all together repeated the voice of the public speaker in order to amplify their voices. This is called "the human microphone" </div></div></div> parts of the podcasts that you find interesting by repeating or annotate them with your vocal messages. You can listen to the podcasts with headphones and record with any microphone. </p>
<p>you are invited to <divclass="tooltip-wrap"style="display: inline;text-decoration:underline;">amplify<divclass="tooltip-content-right"><div>Protesters in occupy wall street all together repeated the voice of the public speaker in order to amplify their voices. This is called "the human microphone" </div></div></div> parts of the podcasts that you find interesting by repeating or annotate them with your vocal messages. You can listen to the podcasts with headphones and record with any microphone. </p>
