User:Angeliki/Research writing

"it is difficult to imagine how someone researching the equipment and technical skills necessary to produce her own broadcasts would fail to come across the information that what she is trying to do is probably illegal" John Anderson, presentation at Southern Illinois University, February 25, 2008.

Project proposal

older drafts

Topics:
a tactical voice: hacking the tools for voice/ tactics of reclaiming the voice in spaces/platforms that surround us and mediate the voice
Voice as a medium of networking and activating public spaces/commons
The impact the voice has in those spaces and the quality it gives to them

Project title:
A (tactical) voice
Walking, listening, scanning, transcribing, talking, eavesdropping, gossiping, tracing, streaming, being present, leaving, looping

The project is about an invitation on realizing the power of our (embodied) voice in the diverse spheres that surrounds us (and transfer it) and tactics of appropriating the tools that interact with it. I will realise that by providing ways of occupying the space with hacked mechanisms used for training speech recognition software (reading and recording) and radio technologies (broadcasting) and propose other ways of making things public through the voice. In questioning the act of speech and the platforms that transfer it, I want to make visible the transcendence, the parallel presence of the voice and its political power in those spaces, but also interrogating the politics of those technologies. This will be done with triggering different actions that will become inputs for a collective transcribing/reading process in public. Speech acts and the walking practice in public spaces produce space, by including the body.

The textual representation of voice is like the presence of the voice in the media sphere and important element of the speech tools. In The Practice of Every Day Life, De Certueau analysed popular culture not as a ‘domain of texts’ or artefacts but rather as a set of practices or operations performed on textual or ‘text like structures’. (the ABC of tactical media, p.91). My approach is more the one of the tactical media.

The spatial quality of the voice/ thickening of the space: In what kind of platforms and spaces the voice can being tranferred and projected? What quality the 'new' voice gives to the spaces?

I want to create a common ground where people participate through collective reading/conversation online, in radio and physical space. The purpose is the voice to be amplified in such a way that raises questions over the presence in public spaces (virtual,digital,online or physical). (Introducing feedback voice technologies as a process of thickening the space.)

How I want to make it:
During my process I will realize small interventions and experiments that will support my concept of the tactical (embodied) voice.

The steps I want to follow till December:

-Writing abstracts, synopsis, essays

-Editing project proposal,thesis outline, chapters

-Hackpact and collecting material from my experiments

-Attend workshops and lectures on radio and speech recognition (CCC, FOSSDEM, RADIO MACCBA)

-Conduct more interviews and transcribe them (Julie, RootIO, RADIO MACCBA)

-prototyping with radio/antennas and webcast/broadcast and embroidered antennas (I can walk with them)

-prototyping with speech recognition and reading in public

-documenting events, public spaces (where the electromagnetic, online sphere and speeches appear, surveillance spots, How the spaces are mediated and use tracking devices or software for communication, how the voice [that is embodied/corporal] can be mediated, technologies that are already made for surveillance and are related to speech recognition in the city )

-searching archives like city archive, Kootwijk history, radio communities, voice in relation to software/technology in other communities like queer

The reason I am doing that:

Generally, I want to dive into the in between space of media and physical landscapes. Regarding the expanses of public spheres in diverse spaces interesting networks are created that can stay active by circulating the knowledge produced by the people being involved. Knowledge is circulated also through the speech and the voice of people in internet, electromagnetic spheres, communication platforms in general and physical spaces. The small conversations/murmurings/gossiping spread around those communication platforms are making a public space, that differs from the public access in spaces as Saskia Sassen mentions and the big political, religion, institutional speeches dominating the public spaces. Seeing the documentation of these voices/sounds/speeches as an archive of collective memory, this material could be placed together on a way that proposes alternative of perceiving ourselves individually and collectively into those landscapes. It can also propose other ways of "publicness". As Ong observed in Orality and Literacy, the condition for a democratic social dialogue in oral cultures was the presence of people in the space and their oral speech and thus after many discussions and performative behaviours they would reach to a decision together or they would just share their individual identities and stories. At the same time peoples voices are used for the creation of phonemes that would help the "machine" to understand, recognize and imitate human voices, conversations. How political decisions affect those spheres?
My initial motivation to do this project is (gender,educational,cultural) exclusion, that I have felt, in communication platforms like radio because of the exclusion in the technical knowledge of them. Another reason is my experience in a previous project I had regarding what voice/speech triggers in public spaces and the power of the invisible soundscapes to create borders and social spheres, (but also the training). My purpose is to redefine those mediums (like radio) by appropriate them in a way that follows up the "situation"/position (cultural, political) of a person. But also to subvert the use of speech recognition software and radio as a tool for control and war, misuse the errors of the tool for the purpose of using the voice as a medium for presence. There is also a public sphere (inactive in terms of political and social aspects) called radio amateurs. How the voice can circulate through it? It is a gendered space. With the purpose to learn for it and approach it (revealing legal,gender,cultural obstacles) I would like to write down all their words (able only for technical conversations and weather) and put them together with other material.
The voice is carrying the culture, gender and other elements of a person and can represent her/him in another space than the actual location of that person. I am interested in the voice as presence in the public space through the absence of the body and for its power to be an initiator for public assemblies, where people interact and exchange through speech acts.

Who could help me:
Matt, Yoanna and Roel help me a lot with the construction of antennas and software for radio. Reni Hofmüller, who I interviewed, can help me in the future when the project gets more concrete as she has a great knowledge on radio (antennas, community radio, pirate radio). Yoanna can also help in the the general direction of the project as her graduation project was related to voice and public space

Previously

I interrogated the language structure by bringing together people from different backgrounds and contexts to read, listen and write texts in a playful way that reveals layers and structures of the language. At the same time I keep being interested in how the tool becomes the output and reverse. I worked with collective writing, reading, speech recognition, collective annotation, collective reading and interacted with digital communities to construct the software.

More specifically the pattern in my work regarding the parallel presence through the voice and the tools that relate the embodied and the distant voice (telepresence) is like that:
Sound Acts in Victoria Square: multiple hacked sound/radio devices that 'carry' the voices of the women interviewed and represent them in the square. Their voices come from a past time at the same place, when they were present physically. At another time only their words are present in the place and 'participate' in conversations in the square. From my text describing the project: “The broadcasted female voices were abruptly intervening into the existing conversations in the specific places, giving the impression of an non-invited “absent” guest.” The distant voice is the mediated voice of women in a past time at the square.

My Way Home: a person follows the voice of another person in another time and place from her/him, giving instructions for navigating in the space and sharing a personal route. The voices are recorded and played back with mp3 devices or cellphones. The distant voice is the mediated voice of someone in the past of the same route but in another place.

Language Poetry Lab: international friends and students are listening to my voice reading a text in Greek (an unknown language for them) live. I ask them to write down what they understand in their languages. The error in translation resembles the game of broken telephone. The distant voice is my embodied voice that becomes unfamiliar because of the unknown language.

Ttssr: it is like the broken telephone. Voices being recorded live that are filtered through the machine and coming back [broadcasted] in loops. The distant voice is the voice mediated by a machine using the 'pocketsphinx' tool.

Projects from other artists:
(Cradiff- her long hair): through the process of walking and listening Cardiff invited people to listen to her recorded voice while she was making the same route at another time. Her breathing, her voice and other sounds of her walking were a companion to the person walking through mp3/Cdplayer. The distant voice is the mediated voice of Cardiff in the past of the same route.

Larger context:
locative media, (urban) tactical media, media hacktivism, radio amateurs, text as a social space, architecture and media, radio public sphere, tracking, speech recognition, speech acts, orality, feminism, mapping

Other keywords:
thickening, parallel, embodied, transition, spatial, occupy movements, vernacular, misreading, tracing

Relation to publishing:
What is that you're trying to make public? The mediation of the embodied voice and its possibility to claim parallel presences in the spaces that is mediated/ the impact it has on those spaces. The relation of the embodied and the distant voice [telepresence]. To be aware of this quality of the voice including the condition of the body[identity, gender, gestures, volume]
How is this going to happen/work? I will show examples of how this is happening daily with a specific concern on 'weak' voices and attempts for establish a presence, like women communities in Afghanistan or queer shows or related hacks. Experimenting with the tools that mediate and represent the embodied voice and engage people in that process.
What are the strategies you are putting in place to create a public around the issue/theme you are interested in? Conducting interviews with people and groups that used voice_based tools and platforms to reclaim their medium/space/role. Researching and revealing communities that used this voice tactics [like microphonic demonstration, gossiping as alternative, radio artists/activists, queer communities, feministic approaches]. Trying out tactics in public space, like broadcasts, collective readings, walking. Trying out online by providing a platform [containing my context] where people can participate in try outs [like transcribing their phone calls, making soundwalks].

Οι ομάδες των τακτικών μέσων θέλουν να έχουν μία διακριτική υλική επίδραση και όχι μία θεμελιώδη δομική διαμόρφωση, όπως επιβάλλεται από τη σύγχρονη αρχιτεκτονική. Αφήνουν μερικά υλικά ίχνη αλλά στο τέλος αυτό που μένει είναι μία ζωντανή ανάμνηση.

Thesis

Thesis outline

I would like to keep writing abstracts, short essays. Writing texts to be merged with writing scripts and scores, until the point where the format of the text is deconstructed and proposes other ways of reading and writing the thesis. I would like to approach the text as a social space open to the public, like what we did the last trimester with reading a text in the tunnel, while walking.

Example of "blurry" writing:

"No_vowels poem"

#Takes out the vowels of a text
import sys
from sys import stdin

l=list('aeiou')
# original = input('give me the poem ')
original = stdin.read()

if len(original) > 0:
    word= original.lower()
    s=list(word)
    new_word=[]
    for i in s:
    	# or if i not in l
        if not i in l: 
           new_word.append(i)
    print (''.join(new_word))
else:
    print ('empty')

Jack tells Jill Jill tells Jack Jack wants Jill Jill wants Jack a perfect contract Jill wants Jack to want Jill to want Jacks want ofher want for his want of her want of Jacks want that Jill wants Jack to want Jill to want Jacks want of her want for his want of her to want Jack to want	jck tlls jll jll tlls jck jck wnts jll jll wnts jck prfct cntrct jll wnts jck t wnt jll t wnt jcks wnt fhr wnt fr hs wnt f hr wnt f jcks wnt tht jll wnts jck t wnt jll t wnt jcks wnt f hr wnt fr hs wnt f hr t wnt jck t wnt
From "Knots", R.D.Laing

https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQuHs6xJWF5yEz3vcgM1RcS2mSYI71sI35NmIzSK20fNV29mx-D

Some formats: interviews

Questions

• How is the media sphere related to public spaces? How they do construct the space?
• How the voice occupy public space (either physical or digital or...)? Relation to speech acts.
• What that reveals for the space (either physical or digital) and our surroundings?
• How the commons are related to that and how can be influenced by that?
• How the tools provide another perspective and way of research or communicating?
• How walking and including the presence of our body into this media occupied public space reveals hidden meanings and perspectives?
• How the art and architecture opens up to these possibilities that this technical knowledge of programming, media provides? How can this still be conceptual, poetic? How can this include the "I" and the "we"? How and why to make things public?
• Is it object, is it an endless process, is it an action?

Steve's questions:

• What material from the 'text on method' you wrote last trimester could be useful for the proposal? ...Abstracts, descriptions of projects in process, collective writing...
• What possibilities are open to you? ...tools, places/networks I would interact with, workshops of writing...

Interviews

Reni Hofmüller

-What is your relation with antennas and radio? why are you interested in them?
-How did you gain this knowledge?
-Did your gender affected your involvement to radio technologies and culture and your first choice?
-Did you see radio as a different tool than what is perceived to be?
-How did you set-up radio stations? legal or illegal?
-How the speech and voice was part of your pirate radio attempts?
-Describe me your how it was to do such projects in public space. -What references would you propose?

Julie Boschat Thorez

- What were the main difficulties of documenting a work like the UBERMORGEN's work?
- What forms of presentation did you use?
- How did you mix them in one publication? Or maybe it was a multiple publication existing in different forms and places?
- What was the best way to document it/archive it/publish it according to you?

References

Libraries to look at

• Auge, M., 2009. Non-Places: An Introduction to Supermodernity, 2 edition. ed. Verso, London ; New York.
• Augoyard, J.-F., Torgue, H., 2006. Sonic Experience: A Guide to Everyday Sounds. McGill-Queen’s University Press, Montreal ; Ithaca.
• Bangma, A., 2011. Resonant Bodies, Voices, Memories. Revolver, Berlin.
• Bassett, C., n.d. ‘How Many Movements?’ [WWW Document]. Online Open. URL https://www.onlineopen.org/how-many-movements (accessed 8.18.18).
• Brooking, P.W.S. and E.T., n.d. The Machines That Will Fight the Social Media Wars of Tomorrow [WWW Document]. Gizmodo. URL https://gizmodo.com/the-machines-that-will-fight-the-social-media-wars-of-t-1829445747 (accessed 10.10.18).
• Calle, S., Baudrillard, J., 1988. Suite Venitienne/Please Follow Me. Bay Pr, Seattle.
• Chantal Mouffe, n.d. Deliberative Democracy or Agonistic Pluralism.
• Dolar, M., 2006. A Voice and Nothing More. The MIT Press, Cambridge, Mass.
• Drucker, J., 2013. Diagrammatic Writing. New Formations 78, 83–101. https://doi.org/10.3898/nEWF.78.04.2013
• Dunbar-Hester, C., 2014. Low Power to the People: Pirates, Protest, and Politics in FM Radio Activism. The MIT Press, Cambridge, Massachusetts.
• Federici, S.B., 2014. Caliban and the witch, 2., rev. ed. ed. Autonomedia, New York, NY.
• Feminist Art of Failure, Ewa Partum and the Weak Avant-Garde | Majewska | Widok. Teorie i praktyki kultury wizualnej [WWW Document], n.d. URL http://pismowidok.org/index.php/one/article/view/370/918 (accessed 8.26.18).
• Galloway, A.R., 2004. Protocol: How Control Exists after Decentralization. MIT Press, Cambridge, Mass.
• Gilbert Simondon, 2012. ON TECHNO-AESTHETICS. PARRHESIA 14, 1–8.
• Habsburg, F. von, Cardiff, J., 2006. Janet Cardiff: The Walk Book, Har/Com edition. ed. Cornerhouse Publications, Köln.
• Hand, B., 1999. Public Art Indoors: Sound and Art in Public Spaces. Circa 42–43. https://doi.org/10.2307/25563399
• Harold, B., n.d. A Map of Misreading.
• Jones, R., n.d. Experts Worry as Germany Tests Voice Recognition Software to Screen Refugees [WWW Document]. Gizmodo. URL https://gizmodo.com/experts-worry-as-germany-tests-voice-recognition-softwa-1793424680 (accessed 10.10.18).
• Joseph-Hunter, G., 2009. Transmission Arts: The Air That Surrounds Us. PAJ: A Journal of Performance and Art 31, 34–40.
• Kahn, D., 2013. Long Sounds and Transperception, in: Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts. University of California Press, Berkeley.
• Kahn, D., Whitehead, G. (Eds.), 1994. Wireless Imagination: Sound, Radio, and the Avant-Garde, First Paperback Edition edition. ed. The MIT Press, Cambridge, Mass.
• Kamal, S., 2007. Development On-Air: Women’s Radio Production in Afghanistan. Gender and Development 15, 399–411.
• Kanouse, S., 2011. Take It to the Air: Radio as Public Art. Art Journal 70, 86–99.
• Kanouse, S., 2007. Tactical Irrelevance: Art and Politics at Play. Democratic Communiqué 21, 23.
• Kogawa, T., 2008. Radio in the Chiasme, in: Elisabeth Zimmermann, Heidi Grundmann, Reinhard Braun, Dieter Daniels, Andreas Hirsch, Anne Thurmann-Jajes (Eds.), Re-Inventing Radio. Aspects of Radio as Art. Revolver, Frankfurt am Main, pp. 407–409.
• Kwon, M., 2004. One Place after Another: Site-Specific Art and Locational Identity, 1st edition. ed. The MIT Press, Cambridge, Mass.
• Latour, B., Weibel, P. (Eds.), 2005. Making Things Public: Atmospheres of Democracy, First edition. ed. The MIT Press, Cambridge, Mass. : Karlsruhe, Germany.
• Manovich, L., 2006. The Poetics of Augmented Space. Visual Communication - VIS COMMUN 5, 219–240. https://doi.org/10.1177/1470357206065527
• Max, N., n.d. The BROADCAST WORKS and AUDIUM.
• McGinley, P., Cardiff, J., Miller, G.B., 2006. Eavesdropping, Surveillance, and Sound. Janet Cardiff and George Bures Miller “Cabin Fever.” PAJ: A Journal of Performance and Art 28, 52–57.
• Mills, C., n.d. How Google’s Leaner AI Could Move Speech Recognition Offline [WWW Document]. Gizmodo. URL https://gizmodo.com/googles-smart-ai-could-move-speech-recognition-offline-1764703382 (accessed 10.10.18).
• Milutis, J., 2006. Ether: The Nothing That Connects Everything, 1 edition. ed. Univ Of Minnesota Press, Minneapolis.
• Naughton, T., 1996. Community Radio: A Voice for the Voiceless. Agenda: Empowering Women for Gender Equity 12–18. https://doi.org/10.2307/4066258
• Nield, D., n.d. How Location Tracking Actually Works on Your Smartphone [WWW Document]. Gizmodo. URL https://gizmodo.com/how-location-tracking-actually-works-on-your-smartphone-1828356441 (accessed 10.10.18).
• Noy, I., 2017. Emergency Noises: Sound Art and Gender, New edition edition. ed. Peter Lang AG, Internationaler Verlag der Wissenschaften, New York.
• Nüshu, 2018. . Wikipedia.
• Nushu [WWW Document], n.d. URL http://nushu.world.coocan.jp/home.htm (accessed 10.10.18).
• O`rourke, K., 2013. Walking and Mapping: Artists as Cartographers. MIT Press, Cambridge, Massachusetts.
• Oliver Marchart, 2011. Art, Space and the Public Sphere(s). archive public.
• Ong, W.J., 2002. Orality and Literacy, 2 edition. ed. Routledge, London.
• Ouzounian, G., 2008. Sound art and spatial practices : situating sound installation art since 1958. UC San Diego.
• Ouzounian, G., n.d. Visualizing Acoustic Space: The Story of Poème électronique. Revue Circuit.
• Pauline Oliveros, 2011. Sonic Meditations, in: AUSTIN, L., KAHN, D., Gurusinghe, N. (Eds.), Source: Music of the Avant-Garde, 1966–1973. University of California Press, pp. 342–346.
• Ronell, A., 1991. [The Telephone Book: Technology - Schizophrenia - Electric Speech]. University of Nebraska Press.
• Sassen, S., 2012. The Shifting Meaning of the Urban Condition, in: Panos Kouros, Elpida Karaba (Eds.), Archive Public. Performing Archives in Public Art, Topical Interpositions. Cube Art Editions, pp. 185–199.
• Schesser, S.D., 2006. A New Domain for Public Speech: Opening Public Spaces Online. California Law Review 94, 1791–1825. https://doi.org/10.2307/20439081
• Schraffenberger, H., Heide, E. van der, 2014. Everything Augmented: On the Real in Augmented Reality. Journal of Science and Technology of the Arts 6, 17–29.
• Scott Ruston, 2014. Location- Based Narrative, in: Ryan, M.-L., Emerson, L., Robertson, B.J. (Eds.), The Johns Hopkins Guide to Digital Media. Johns Hopkins University Press, Baltimore, pp. 127–129.
• Self-* properties through gossiping, n.d.
• Slouka, M., 1999. Listening for silence. Harper’s Magazine.
• Smith, N., 2005. The Politics of Public Space, 1 edition. ed. Routledge, New York.
• Strauss, N., Mandl, D. (Eds.), 1994. Radio Text(e). Semiotext, New York, NY, USA.
• TCM Locative Reader, n.d.
• TCM Locative Reader [WWW Document], 2006. URL https://web.archive.org/web/20060422010833/http://www.locative.net/tcmreader/index.php?endo;lovink-x (accessed 10.10.18).
• Tetsuo, K., n.d. Minima Memoranda: a note on streaming media.
• Tonkiss, F., 2003. Aural postcards: sound, memory and the city, in: Bull, M., Back, L. (Eds.), The Auditory Culture Reader. Berg Publishers, Oxford, pp. 303–310.
• Tucker, 2017. Organize Your Own Temporality by Rasheedah Phillips. Organize Your Own.
• Turkle, S., 2016. Reclaiming Conversation: The Power of Talk in a Digital Age, Reprint edition. ed. Penguin Books, New York.
• U B U W E B :: Radio Radio [WWW Document], n.d. URL http://www.ubu.com/sound/radio_radio/ (accessed 9.17.18).
• van der Heide, E., 2013. Radioscape: Into Electromagnetic Space. Leonardo Music Journal 23, 15–16. https://doi.org/10.1162/LMJ_a_00143
• Weiss, A.S., 1995. Phantasmic Radio. Duke University Press Books, Durham, N.C.
• Wendy, C., n.d. Control and freedom.
• Williams, G., 1998. The Voice of Author/ity. PAJ: A Journal of Performance and Art 20, 62–67. https://doi.org/10.2307/3245931

Projects

Her long black hair Her Long Black Hair takes each listener on a winding, mysterious journey through Central Park’s 19th-century pathways, retracing the footsteps of an enigmatic dark-haired woman.

The public square For the three-week duration of the MFA exhibition at the Krannert Art Museum, in Champaign, IL, participatory events occur daily in roaming public spaces around the city. Museum viewers become speakers by using microphones to rupture the spectatorship, privilege, and permanence of the public museum, and spectators become discussants by joining or questioning the gatherings. The sounds from each location are relayed to the other space to contrast the implicit or explicit limits on engagement established by those who monitor, manage, and control.

"De bron (Sjanet Bijker, 2006)". This project was conceived by Groningen artist Sjanet Bijker in 2006. People could send messages through the internet that were made audible by text-to-voice converting software. Also the water was rippled due to the sound that was heard. The well was placed in several public places around the town of Groningen.
It is very related to my project proposal as it related to the transfer of the digital text/messages to the public space through the voice.

Leave a message (Yoanna Buzova, 2014) is a participatory project, a network of voice mailboxes, that allow members of the public to record and distribute audio messages in public space.

Public Broadcast Cart is a shopping cart outfitted with a dynamic microphone, a mixer, an amplifier, six speakers, a miniFM transmitter and a laptop with a wireless card. The audio captured by the microphone on the cart is fed through the mixer to three different broadcast sources.

EMF Sensing and Fractal Antennas The wearable detectors that are produced at the workshop can be used in a number of ways - as an open-source tool to explore the city’s invisible landscape, as an audiovisual performance interface or as a way to collect EMF data that can afterwards be used for further analysis and experiments (e.g. vizualisation or signification).

Her Long Black Hair (Janet Cardiff, 2004) Her Long Black Hair takes each listener on a winding, mysterious journey through Central Park’s 19th-century pathways, retracing the footsteps of an enigmatic dark-haired woman.

Pak Sheung Chuen Coincidence Measured by Body/ Andrew Maerkle Based in Hong Kong, Pak Sheung Chuen is known for works involving subtle interventions into the everyday urban environment.

Lam Siu-wing, Flaneur 11 Homeward Bound (2013) The idea of walking from one side of Hong Kong to the other was provoked by the depression of seeking a new job. After spending every single day sending application at home for no result, I was awaken by the days of boredom. I randomly think of a place on the other side of the city: Yuen Long, just on foot. I did documentation for my walk, I pondered my ego in my walk.

I finally walked for 10 times in 5 cities.

Max Neuhaus, https://web.archive.org/web/20150909191231/http://www.max-neuhaus.info/soundworks/, https://jenniferstob.com/tag/max-neuhaus/, https://web.archive.org/web/20151013081953/http://www.max-neuhaus.info/soundworks/vectors/performance/fontanamix-feed/fontanamix-feed.htm, https://web.archive.org/web/20150909191231/http://www.max-neuhaus.info/soundworks/

The Green Line (Francis Alÿs, Jerusalem, 2004). "In the summer of 1995 I performed a walk with a leaking can of blue paint in the city of São Paulo.The walk was then read as a poetic gesture of sorts. In June 2004, I re-enacted that same performance with a leaking can of green paint by tracing a line following the portion of the ‘Green Line’ that runs through the municipality of Jerusalem"

Resonating Sculpture II, Handarbeit (Reni Hofmüller, 2016)

http://vimeo.com/132929393 "Sometimes doing something poetic can become political and sometimes doing something political can become poetic."

Polymorphous Space (Tetsuo Kogawa)

Electrical Walks (Christina Kubisch)

http://vimeo.com/173325533

Calle, S., Baudrillard, J., 1988. Suite Venitienne/Please Follow Me. Bay Pr, Seattle.

Galloway, A.R., 2004. Protocol: How Control Exists after Decentralization. MIT Press, Cambridge, Mass.

Workshops

RootIO: Community Radio as a Service (RootIO Radio, Radical Networks, October 2018 )
This workshop introduces participants to the RootIO platform, and takes them through the steps of creating a station.

ONDES SAUVAGES, FEMINIST FUTUROTOPIAS (r∆∆dio c∆∆rgo and Spideralex, Rencontres BANDITS-MAGES, November 2018)
A workshop on speculative writing of feminist technologies and collective sound narrative. A workshop to reclaim our relationships with techniques and technologies, to subvert these techniques, to blur genders and blow up codes and rules: to interlock emerging worlds with appealing futures.