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=== References ===
<span style="color:#C9369B">''"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"''</span>
* A Grin Without Marker [WWW Document], n.d. URL http://www.internationaleonline.org/research/decolonising_practices/59_a_grin_without_marker (accessed 8.28.18).
<span style="color:#C9369B;font-size:55%;">John Anderson, presentation at Southern Illinois University, February 25, 2008.</span><br />
* 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.
* Bassett, C., n.d. ‘How Many Movements?’ [WWW Document]. Online Open. URL https://www.onlineopen.org/how-many-movements (accessed 8.18.18).
* Berger, J., 2008. Ways of Seeing, 01 edition. ed. Penguin Classics, London.
* boyd,  danah, Crawford, K., 2012. CRITICAL QUESTIONS FOR BIG DATA: Provocations for a cultural, technological, and scholarly phenomenon. Information, Communication & Society 15, 662–679. https://doi.org/10.1080/1369118X.2012.678878
* Calle, S., 2012. Sophie Calle: The Address Book. Siglio, Los Angeles.
* Calle, S., Baudrillard, J., 1988. Suite Venitienne/Please Follow Me. Bay Pr, Seattle.
* Chantal Mouffe, n.d. Deliberative Democracy or Agonistic Pluralism.
* Cristiane Paul, 2014. Database, 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.
* Deutsche, R., 1998. Evictions: Art and Spatial Politics, New Ed edition. ed. MIT Press, Cambridge, Mass.
* 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).
* Foster, H., 1998. Recodings: Art, Spectacle, Cultural Politics. The New Press, New York.
* Galloway, A.R., 2004. Protocol: How Control Exists after Decentralization. MIT Press, Cambridge, Mass.
* 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
* 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
* Media School [WWW Document], n.d. URL https://cargocollective.com/Media-School (accessed 8.28.18).
* New : Kajsa Dahlberg [WWW Document], n.d. URL http://www.kajsadahlberg.com/ (accessed 8.29.18).
* Noy, I., 2017. Emergency Noises: Sound Art and Gender, New edition edition. ed. Peter Lang AG, Internationaler Verlag der Wissenschaften, New York.
* O`rourke, K., 2013. Walking and Mapping: Artists as Cartographers. MIT Press, Cambridge, Massachusetts.
* Pauline Oliveros, 2011. Sonic Meditations, in: AUSTIN, L., KAHN, D., Gurusinghe, N. (Eds.), Source: Music of the Avant-Garde, 1966&#x2013;1973. University of California Press, pp. 342–346.
* Phillips, P.C., 2004. In This Issue: Unsettled Imaginations. Art Journal 63, 3–3. https://doi.org/10.2307/4134500
* Phillips, P.C., 2003. Creating Democracy: A Dialogue with Krzysztof Wodiczko. Art Journal 62, 33–47. https://doi.org/10.2307/3558486
* Place, Space and Purpose [WWW Document], n.d. . Ibraaz. URL https://www.ibraaz.org/interviews/168 (accessed 8.28.18).
* Project MUSE - Introduction: Collectivism in Twentieth-Century Japanese Art with a Focus on Operational Aspects of Dantai [WWW Document], n.d. URL https://muse.jhu.edu/article/509106 (accessed 8.26.18).
* Ryan, M.-L., Emerson, L., Robertson, B.J. (Eds.), 2014. The Johns Hopkins Guide to Digital Media. Johns Hopkins University Press, Baltimore.
* 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.
* Sekula, A., 1986. The Body and the Archive. October 39, 3–64. https://doi.org/10.2307/778312
* Slouka, M., 1999. Listening for silence. Harper’s Magazine.
* Smith, N., 2005. The Politics of Public Space, 1 edition. ed. Routledge, New York.
* Susan Sontag - Monoskop [WWW Document], n.d. URL https://monoskop.org/Susan_Sontag (accessed 4.18.18).
* 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.
* ΤΟ ΠΟΛΙΤΙΚΟ ΣΤΗ ΣΥΓΧΡΟΝΗ ΤΕΧΝΗ, n.d.


==== Projects ====
== Project proposal ==
[[User:Angeliki/Grad-proposal drafts|older drafts]]<br />
Branches of project proposals: <br />
[[User:Angeliki/Grad_project_speech_analysis|A. Re-humanizing voice samples]]<br />
[[User:Angeliki/Grad_project_frequencies|B. Dialogue iterations with frequencies]]<br />
[[User:Angeliki/Grad project loop|A+B. Human always in the loop]] <- trimester proposal<br />
[[User:Angeliki/Grad_project_proposal#Revisions|C. Streaming public speech]]<br />
<br />
<span style="font-size:24px; padding:10px; border:1px solid black;">[[User:Angeliki/Grad_project_proposal|Let's amplify unspeakable things]]</span>
 
 
=== 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:<br />
'''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:''<br />
'''(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.
 
== Thesis ==
[[User:Angeliki/Grad-thesis|Thesis outline]]<br />
[[User:Angeliki/Grad-thesis-chapters|Draft of first chapter]]<br />
[[User:Angeliki/Grad-thesis-essays|Essays]]<br />
 
<span style="font-size:24px; padding:10px; border:1px solid black;">[[User:Angeliki/Grad-thesis|Final Thesis: Let's Talk About Unspeakable Things]]</span>
 
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.
 
=== [[User:Angeliki/Grad-Abstracts & Synopsis|Bibliography & Synopsis]] ===
 
=== Interviews ===
==== Reni Hofmüller ====
-What is your relation with antennas and radio? why are you interested in them?<br />
-How did you gain this knowledge? <br />
-Did your gender affected your involvement to radio technologies and culture and your first choice?<br />
-Did you see radio as a different tool than what is perceived to be?<br />
-How did you set-up radio stations? legal or illegal?<br />
-How the speech and voice was part of your pirate radio attempts?<br />
-Describe me your how it was to do such projects in public space.
-What references would you propose?<br />
 
==== Julie Boschat Thorez ====
- What were the main difficulties of documenting a work like the UBERMORGEN's work?<br />
- What forms of presentation did you use?<br />
- How did you mix them in one publication? Or maybe it was a multiple publication existing in different forms and places?<br />
- What was the best way to document it/archive it/publish it according to you?
 
==== r∆∆dio c∆∆rgo and Spideralex ====
<div style="color:red;">
Regarding your workshop "ONDES SAUVAGES, FEMINIST FUTUROTOPIAS" I would like to make some questions
- How did you produce text, narrations and involved dreams, phantasies into your broadcastings in relation to the technology.
 
</div>
 
== Old References ==
 
=== Workshops ===
'''The Edges of the Voice'''
Reading Room #29, Stroom, Hague. ** Took the text "the gender of sound"
 
'''Voice and presence: how to be loud'''
Thursday, 27 December 2018 16:00, Komona Kuppel 3 #talks ** I don't agree so much with the idea to be loud if I want to be present with others. But the vocal exercises were interesting.
 
'''QueerFeministGeeks - MeetUp'''
Thursday, 27 December 2018 19:00, Lecture room M3 ** Separated in discussion groups with different topics. The moderators would clap in order the groups to stop talking. They were asking if somebody can hear them to clap once and then if somebody can hear them to clap twice.
 
'''Tactical Embodiment'''
Thursday, 27 December 2018 22:10, Eliza ** The artist used the idea of tactical media to respond to the pressure of men to women for having sexual action. She made a video game and a feminist meeting in an online game. The feminist meeting is a way of amplification of the female voice, through online digital platforms like this game.
 
'''Commie curious'''
Saturday, 29 December 2018 14:15, Lecture room M2 ** A discussion on communism in the form of workshop. Instead of clapping the moderators would raise the hand and if anyone in the groups would see him they would do the same.
 
'''[https://radicalnetworks.org/participants/christopher-csikszentmihalyi/ RootIO: Community Radio as a Service] **haven't been'''
([http://rootio.org RootIO Radio], Radical Networks, October 2018 )
 
This workshop introduces participants to the RootIO platform, and takes them through the steps of creating a station.
 
'''[http://www.bandits-mages.com/en/blog/2018/10/03/ondes-sauvages-futurotopies-feministes-r∆∆dio-c∆∆rgo-bandits-mages-12-16-novembre-2018-bourges/ ONDES SAUVAGES, FEMINIST FUTUROTOPIAS]**haven't been'''
(r∆∆dio c∆∆rgo and Spideralex, Rencontres BANDITS-MAGES, November 2018)<br />
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.
 
=== Projects ===
'''http://joy.nujus.net/w/index.php?page=NMSAT.en'''
 
''' http://laps.artoffailure.org/isl.html'''
 
''' https://www.vpro.nl/programmas/tegenlicht/kijk/afleveringen/2018-2019/mijn-stad-is-mijn-hart.html'''
 
'''https://soundcloud.com/ain_bailey/furtive-furtive-suspicious'''
 
'''http://dewidevree.org/magnetoceptia-2/'''
 
'''https://somafm.com/sf1033/songhistory.html'''
 
'''https://www.facebook.com/events/1490432824557428/'''
 
'''http://p-node.org/doc/index.php/Main_Page'''
 
'''http://www.aftersound.co.uk/'''
 
'''http://www.tadeosendon.com/temporary-local-broadcast/'''
 
'''[http://www.cardiffmiller.com/artworks/walks/longhair.html 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.
 
'''[http://www.readysubjects.org/projects/publicsquare/publicsquare_html/html_home.html 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.
 
"[https://vimeo.com/158498842 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.<br />
''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|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.
 
'''[http://ambriente.com/wifi/index.php 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.
 
'''[http://afroditipsarra.com/index.php?/workshops/emf-/ 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).
 
'''[https://www.cardiffmiller.com/artworks/walks/longhair.html 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.
 
'''[https://www.art-it.asia/en/u/admin_ed_itv_e/fg8r1cnx4sowvqz0pebc 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.
 
'''[https://ithinkitrains.org/category/lam-siu-wing/ 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/
 
'''[http://francisalys.com/the-green-line/ 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"<br />
 
'''[https://renitentia.mur.at/resonating-sculptureII.html Resonating Sculpture II, Handarbeit (Reni Hofmüller, 2016)]'''
 
{{vimeo|132929393}} <span style="color:#C9369B">"Sometimes doing something poetic can become political and sometimes doing something political can become poetic."</span>
 
'''[http://anarchy.translocal.jp/ Polymorphous Space (Tetsuo Kogawa)]'''
 
'''[https://www.youtube.com/watch?v=5tCphr8pbFk Electrical Walks (Christina Kubisch)] '''
 
{{vimeo|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.'''

Latest revision as of 10:56, 5 June 2019

"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
Branches of project proposals:
A. Re-humanizing voice samples
B. Dialogue iterations with frequencies
A+B. Human always in the loop <- trimester proposal
C. Streaming public speech

Let's amplify unspeakable things


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.

Thesis

Thesis outline
Draft of first chapter
Essays

Final Thesis: Let's Talk About Unspeakable Things

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.

Bibliography & Synopsis

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?

r∆∆dio c∆∆rgo and Spideralex

Regarding your workshop "ONDES SAUVAGES, FEMINIST FUTUROTOPIAS" I would like to make some questions - How did you produce text, narrations and involved dreams, phantasies into your broadcastings in relation to the technology.

Old References

Workshops

The Edges of the Voice Reading Room #29, Stroom, Hague. ** Took the text "the gender of sound"

Voice and presence: how to be loud Thursday, 27 December 2018 16:00, Komona Kuppel 3 #talks ** I don't agree so much with the idea to be loud if I want to be present with others. But the vocal exercises were interesting.

QueerFeministGeeks - MeetUp Thursday, 27 December 2018 19:00, Lecture room M3 ** Separated in discussion groups with different topics. The moderators would clap in order the groups to stop talking. They were asking if somebody can hear them to clap once and then if somebody can hear them to clap twice.

Tactical Embodiment Thursday, 27 December 2018 22:10, Eliza ** The artist used the idea of tactical media to respond to the pressure of men to women for having sexual action. She made a video game and a feminist meeting in an online game. The feminist meeting is a way of amplification of the female voice, through online digital platforms like this game.

Commie curious Saturday, 29 December 2018 14:15, Lecture room M2 ** A discussion on communism in the form of workshop. Instead of clapping the moderators would raise the hand and if anyone in the groups would see him they would do the same.

RootIO: Community Radio as a Service **haven't been (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**haven't been (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.

Projects

http://joy.nujus.net/w/index.php?page=NMSAT.en

http://laps.artoffailure.org/isl.html

https://www.vpro.nl/programmas/tegenlicht/kijk/afleveringen/2018-2019/mijn-stad-is-mijn-hart.html

https://soundcloud.com/ain_bailey/furtive-furtive-suspicious

http://dewidevree.org/magnetoceptia-2/

https://somafm.com/sf1033/songhistory.html

https://www.facebook.com/events/1490432824557428/

http://p-node.org/doc/index.php/Main_Page

http://www.aftersound.co.uk/

http://www.tadeosendon.com/temporary-local-broadcast/

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.

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