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97 lines
7.9 KiB
Markdown
97 lines
7.9 KiB
Markdown
## what (strategy)
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I want to interrogate and explore methods of adress and vocal presence in public spaces (either physical or digital?). Especially the presence of female voices in public spaces, what places they avoid and what sounds describe that absense or excluded form of address. My approach is to create a forum/space for that exploration to emerge through performative actions, meetings and sound walks and an archiving material of sounds from the area I am connected with. I focus on one specific area and public space through which I can act (like a base) and interact.
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My approach is based on feedback and process-based actions unraveled throughout a period. This feedback comes from feministc approaches on listening and giving back to the people, relating in practices of listening and participating. So, first I want to explore speech acts- a performative action of making things and space for it through embodied participation and vocal expression, together with others by applying practices related to it in a safe space. And second listening to our surroundings, presences that occupy the public space, how they get expressed, what these sounds reveal, what do we understand.
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Make a platform or object of interaction and leave people decide what to do with it
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Relation to publishing:
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## How (example)
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WARM UP YOUR VOICE
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I want to create a temporary (public) space of expression and active involvement.
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"speech act embraces the way the language is used and communicates what should be done and not what does this mean." Focus on sound and presence of the voice. Occupying space by presence and radio.
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A series of meetings and trying outs of vocal workshops in moments of Leeszaal (language courses, wereldvrouwen, cafe NL). In the meetings we can also use material from previous meetings.
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Exercises:
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- Reading extracts or just discussing, saying a sentence in the native language, somebody else transcribing the vowels of that sentense, reading outloud the vowels all together, or only the person that transcribed them. If we read it all together we record ouselves and listening back to it. Like creating small chanting pieces every time we meet.
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The vowels are a chain link between languages (the chinese can ).
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- Reading the texts of how the female voice sounds like. Recording and listening.
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- Opening up the process: streaming online and opening the possibility for others to react on it.
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FEEDBACK COMPOSITION
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Subverting the area by embedding sounds from other areas or online spheres (that maybe reflect an past image of the area or my imaginations). Relation of content with title and structure of Sound walk (private- public, gender separation, amplification of female voice, mediators, distorted voice). Sounds of exclusion or daily routines inside houses of women
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- Hypothesis #1: I assume that gender representation is different in public spaces. What sounds reveal that? I assume that separation of public and private reflect that.
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Experiment: I listen and record carefully sounds from the area that are coming from different spaces and voices. Exploring the private and public.Asking inhabitants to describe these sounds.
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Outcome:audio selection 1 and recording of women listening to it.
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- Hypothesis2: I assume that this area was like zuidplein (before gentrification, colonized past, many immigrants)
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outcome: recording other area, zuidplein, visiting other areas and online material from Rotterdam
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- Hypothesis3: I assume demonstration or speech acts in public are male dominated
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Experiment: search online material and my previous recordings. Visit areas and platforms from the area that they work as spaces for speech act.
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outcome: audio selection 2
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- Hypothesis4: I assume that people are related differently to the sounds and have different opinion/approaches/experiences related to public sounds and presence.
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Experiment: How to reveal more about these sounds and peoples stories? Questions to the people=> where is that sound came from, what space it has existed and what has happened. So opening the discussion on female voices and sounds in public.
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Future hypothesis/experiment:
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Why not in the end invite people to add their own recordings/ introduce recording practice to them in the warm up exercises.
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Imagining these sounds differently, add abstract animal terms.
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SOUNDWALK AND READING ROOM
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Walking all together, one is reading extracts (one extract each group). Listening to the broadcast and waiting for somebody else to finish
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A portable reading room (relation to publishing)
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A walkable reading room
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Everyone has a different interpretation when listening to surrounding sounds, because of the structures that define their identity. Patterns of sounds of the area that reveal these structures. And giving it back to them to describe and listen carefully to their everyday environment. Not just extracting, as an artist, fragments of their world.
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first reflected in the landscape/soundscape of the area (private/public) and second tools for the inhabitants to get comfortable with it/discuss about it through meetings.
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and then invite for going outside
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through a feministic approach. Which means I collect material and return it back to the people involved (a feminist feedback composition).
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ARCHIVE: Interface
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Description from me in audio about my experience
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Broadcast in the end my material?
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## why (intention)
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silencing of women/ establishment of spaces and roles because of the relation between space and identity/ gender construction. Gender separation in public space
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approaches of listening and participation and specificity instead of formal articulation of rhetorics
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speech act-> making things-> making space
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urgency of specificity
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## Larger context
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My research lies on feministc approaches on voice and presence. Sound art
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specificity etc (from my thesis)
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## Plan
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## references
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### listening
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### speaking
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## other projects
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### 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
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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.
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It consists of readers (publication), headphones, radio broadcast. Different participants, one transmitter
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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.
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### Furtive Furtive Suspicious https://soundcloud.com/ain_bailey/furtive-furtive-suspicious
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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?
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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.
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### Pitch Sisters http://www.nae.org.uk/exhibition/sounds-like-her/131, https://soundcloud.com/ain_bailey/the-pitch-sisters-edit
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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. |