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Transmitting Ugly Things
Related to "The monstrosity..." opening the hollow cavity become techy/ talking with technical terms
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
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 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. pg. 134 kaminada "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). But even in the Ancient Greece this form was annoying. Alkaios describes how talkativeness annoyed him ('Monstrocity'). Talkativness/ gossiping the story of Plutarch (Carson, 1996, pg. 130)
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/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-> 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 but who is broadcasting, what is the source, how it looks like you just accept 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)
other essay?
*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 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)
Being here now and elsewhere. A way to approach the other that will listen to us. "Heidegger, in Being and Time and elsewhere,", "To the extent that it always relates us to the absent other, the telephone"(Telephone Book, Ronell)
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
- 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.