User:Mitsa/Final presentation: Difference between revisions
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== Si17 == | == Si17 == | ||
=== Personal reflection === | === Personal reflection === | ||
On the Special 17 I put my attention on how can we work | On the Special 17 I put my attention on how can we work with more care as a group. How can we have our individual needs met, while still we meet the production deadlines. I have a lot to learn on how to express my needs and how I can contribute in a non-violent group communication. In terms of the publication, I co-developed and co-created the production of the contents. Mostly, I edited the collective inputs, while I participated in the overall process of designing and outsourcing our material. | ||
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== Si18 == | == Si18 == | ||
=== Personal Reflection === | === Personal Reflection === | ||
In this Special Issue I participated as a listener, a contributor and a caretaker. It was a rich experience to unplug from the screen and listen every week to each new release. The discussion after each launch was rich. We tryed to unpack what we collectively listened to and raise questions. As a contributor I | In this Special Issue I participated as a listener, a contributor and a caretaker. It was a rich experience to unplug from the screen and listen every week to each new release. The discussion after each launch was rich. We tryed to unpack what we collectively listened to and raise questions. As a contributor I experimented with the sonic dynamics of a public space, jamming outside with bottles, creating pop national anthems, experimenting with spoken word and detuning of my voice and my guitar. I was also into field recording and editing, trying a diffractive reading of a text and a video, jamming at La Generale in Paris. I did all these alone or by being part of a duo or a trio. As a caretaker, I put together the first release with Chae and curated the 4th release with Miriam and Erica. Finally I curated and performed the diffractive dj set with Alex and Supi at the Graduation Event of XPUB2. | ||
=== Release 04 : The parliament === | |||
https://issue.xpub.nl/18/04/ <br> | |||
<br> Caretaking mitsa, erica and miriam <br> | |||
The jingle board Parliament | |||
=== Release 05: Experiment with voice detuning === | |||
https://issue.xpub.nl/18/05/ <br> | |||
https://hub.xpub.nl/soupboat/SI18/05/recordings/MiMi.mp3 <br> | |||
detuning my voice in a spoken word track | |||
=== Diffractive Dj Se with Supi and Alex, mixing contributions of all the releases === | |||
we made this DJ set as a way of publishing our 08 audio releases, at the Graduation show of the XPUB 2 at WORM. <br> | |||
https://media.xpub.nl/2022/gradshow/WalkieTalkie-XPUB1.mp4?fbclid=IwAR18OjRoXJo5zrMCCWqu0XR_vFFO8dl0lCViy3-K1KWAAuat3ggLgZo_iNo | |||
=== Unpublic #81 PARIS, 22 JUNE 2022 === | |||
https://unpublic.bandcamp.com/album/paris-22-june-2022 <br> | |||
sound jam | |||
=Second Year= | =Second Year= | ||
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''' "play like a man" ''' <br> | ''' "play like a man" ''' <br> | ||
- introducing blue, the guitar that accompanied me while I was active in Greece. | - introducing blue, the guitar that accompanied me while I was active in Greece. <br> | ||
- memories of out of placeness in jazz jams related to whom made sound and in what ways: <br> | - memories of out of placeness in jazz jams related to whom made sound and in what ways: <br> | ||
- Our instruments were approached as our bodies; to be tamed, to get the most out of them through constant practice, discipline and commitment. <br> | - Our instruments were approached as our bodies; to be tamed, to get the most out of them through constant practice, discipline and commitment. <br> | ||
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==== traces of embodying a queer voice ==== | ==== traces of embodying a queer voice ==== | ||
-timbre as texture; timbre transmits the unique physical situation, the imprint of the body that generated it. <br> | -timbre as texture; timbre transmits the unique physical situation, the imprint of the body that generated it. <br> | ||
-voice as social touch, as fingerprints that urge | -from Bonnenfant: voice as social touch, as fingerprints that urge to reach other bodies. Which bodies do we allow to be reached by? <br> | ||
-what about those voices that have learnt to be out of reach? <br> | -what about those voices that have learnt to be out of reach? <br> | ||
-implementing experiential knowledges of frictions, misfittings and alienations around having a voice and being part of the lgbtqi+<br> | -implementing experiential knowledges of frictions, misfittings and alienations around having a voice and being part of the lgbtqi+<br> | ||
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==== the gender neutral classification ==== | ==== the gender neutral classification ==== | ||
- the case study of "Q: the first Genderless AI assistant" in order to talk about constructing a gender essentialism in vocal sound production, based on a voice's frequency range | |||
==== voice as an exit door to transformation ==== | ==== voice as an exit door to transformation ==== | ||
- From Preciado's text ''Another Voice'': perceive someone's voice as dynamic, fluctuating; imagining relations, connections and interpretations beyond the gender binary | |||
=== Jamming as a process for creating safer spaces === | === Jamming as a process for creating safer spaces === | ||
- | - jamming for creating connections <br> | ||
- approach performance as a process | - main interest the process around the gig's preparation <br> | ||
- evolving a ritual of speaking out our emotions before engaging into the sound making <br> | |||
- building trust between us <br> | |||
- trying to approach performance as a process; Sound, equipment and us as co-contributors | |||
=== Conclusion === | === Conclusion === | ||
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=== jams as safer space on action / parallel practice, that influenced the graduation project === | === jams as safer space on action / parallel practice, that influenced the graduation project === | ||
==== playing at re#sister radio==== | ==== playing at re#sister radio with Alex and Supi on February 12 2023==== | ||
preparation: I refer analytically to that in the thesis <br> <br> | preparation: I refer analytically to that in the thesis <br> <br> | ||
'''Announcement text''' <br> | '''Announcement text''' <br> | ||
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When: doors 14:30, start 15:00 h // 12-02-2023 | When: doors 14:30, start 15:00 h // 12-02-2023 | ||
More info: https://worm.org/production/expanded-radio-16-resister/ | More info: https://worm.org/production/expanded-radio-16-resister/ | ||
[[File:352698683 636025768163427 271163641506063974 n.jpg|thumb]] | [[File:352698683 636025768163427 271163641506063974 n.jpg|thumb]] | ||
[[File:Worm snippet.mp4|thumb]] | [[File:Worm snippet.mp4|thumb]] | ||
==== playing at VARIA ==== | ==== playing at VARIA with Kamo and Alex at Extratonal Infrastructures, April 29 2023==== | ||
3 parts, | 3 parts, | ||
impro. <br> | impro. <br> | ||
listening and responding <br> | |||
[[File:350092365 291548656635691 2794043122178526577 n.jpg|thumb]] | [[File:350092365 291548656635691 2794043122178526577 n.jpg|thumb]] | ||
[[File:352591952 7361766433850368 4881866066540879741 n.mp4|thumb]] | [[File:352591952 7361766433850368 4881866066540879741 n.mp4|thumb]] | ||
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==== first prototypes with sonic pi that influenced the final==== | ==== first prototypes with sonic pi that influenced the final==== | ||
Here are tryouts with small vocal excerpts I recorded. I tried to loop steadily and not, to pitch, to stretch. The excerpts | Here are tryouts with small vocal excerpts I recorded. I tried to loop steadily and not, to pitch, to stretch. The samplews were excerpts from the text of the thesis. <br> | ||
From these experiments, the randomness factor was decisive in the sense of losing control. Sound modulating you as well | |||
#first time that i enter my own breath on the code | #first time that i enter my own breath on the code | ||
#it is moving, deep, is like listening to my old self, or to the air, there is a level of intimacy | #it is moving, deep, is like listening to my old self, or to the air, there is a level of intimacy | ||
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live_loop :breath do | live_loop :breath do | ||
sample "C:/Users/luzza/Desktop/samples/my breath2.wav", amp: rrand(1,3), rate: rrand(0, 2), pan: rrand(-0.8,0.8) | sample "C:/Users/luzza/Desktop/samples/my breath2.wav", amp: rrand(1,3), rate: rrand(0, 2), pan: rrand(-0.8,0.8) | ||
sleep 1 | sleep 1 | ||
end | end | ||
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#not really agressive | #not really agressive | ||
#stretching my vocal excerpt | #stretching my vocal excerpt talking about a moment of misgendering | ||
define :exposure do | define :exposure do | ||
#with_fx :reverb do | #with_fx :reverb do | ||
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#like if it works with the stretching or if it is like too obvious | #like if it works with the stretching or if it is like too obvious | ||
#it feels better that the voices don't overlap with each other because then it becomes too dramatic | #it feels better that the voices don't overlap with each other because then it becomes too dramatic | ||
#the weird element of fast and super slow. can feel sometime really econographic with a | #the weird element of fast and super slow. can feel sometime really econographic with a speech | ||
#because this has been probably overused in satire, it creates an | #because this has been probably overused in satire, it creates an awkward childish result | ||
#when my real voice appears, it's like i am exposed... like we understand for whom we talk about | #when my real voice appears, it's like i am exposed... like we understand for whom we talk about | ||
#like the masks are falling | #like the masks are falling | ||
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end | end | ||
=== | === ''Thanks for listening''_Graduation project=== | ||
Process: <br> | |||
-Creating an instrument through a midi device, cables, sonic pi, a sound card, speakers, my laptop, my voice, my body for making a live coding performance <br> | |||
-improvising for deciding the feautures of the instruments. The code and my capabilities on the language puts the constraints and defines the ways I use my voice for the performance. | |||
-the text i voice is created through the impros in response to the instrument's sounds and through the concpets analysed in the thesis. | |||
==== text introducing the performance ==== | |||
''Thanks for listening'' is a live coding process, a system created by a body, cables, a borrowed midi device, a microphone, a sound card, Sonic Pi, speakers, memories, desires, discomforts and vulnerability. | |||
<br> <br> | |||
The force driving this research are questions such as: How we embody gender by the ways we use our voices. How a gender binary categorises bodies depending on their vocal frequency behaviour. How sound production and instruments when located in cis-hetero spaces potentially amplify biases. And how they can potentially become a healing part of someone. | |||
<br> <br> | |||
In this perfomance, I position my body as an extension of sound and sound technology. I create voice through my phonatory system, which gets modulated in controllable and uncontrollable ways. A midi controller which receives data from sonic pi is pitching, stretching and looping the voice that is plugged with, through knobs, faders and buttons. A partial narration, a passive whisper or a shout on having an ανώμαλη, anomalous voice is commented in the beginning of the code and vocalised throughout the performance. | |||
==== messy pad with notes from where I chose the text for the performance ==== | ==== messy pad with notes from where I chose the text for the performance ==== | ||
This pad got created through a series of improvisation I had with the instrument. <br> | This pad got created through a series of improvisation I had with the instrument. <br> | ||
Through | Through listening to the soundscape created by the my voice and the different types of stretches and pitching and respond to them through words. | ||
<br> | <br> | ||
I tried | I also tried to implement thoughts that evolved throughout my thesis, but in a more oral, here and now way. | ||
https://pad.xpub.nl/p/processing_the_perfomance_i_am_a_hipster | https://pad.xpub.nl/p/processing_the_perfomance_i_am_a_hipster | ||
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==== Finalised Script for the live coding performance in sonic pi ==== | ==== Finalised Script for the live coding performance in sonic pi ==== | ||
[[File:352845371 6439099259462777 5305920842621635230 n.mp4|thumb]] | [[File:352845371 6439099259462777 5305920842621635230 n.mp4|thumb]] <br> | ||
[[File:353067575 9318771208197045 6476006884235405665 n.mp4|thumb]] | [[File:353067575 9318771208197045 6476006884235405665 n.mp4|thumb]] <br> | ||
[[File:353465721 6673688296015997 2610817662109932067 n.mp4|thumb]] | [[File:353465721 6673688296015997 2610817662109932067 n.mp4|thumb]] <br> | ||
#heyy can you hear me? | #heyy can you hear me? | ||
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#the variables cc and val are syncronised with the midi machine i use | #the variables cc and val are syncronised with the midi machine i use | ||
cc, val = sync "/midi:5-_zero_mkii_0:1/control_change" | cc, val = sync "/midi:5-_zero_mkii_0:1/control_change" | ||
# the numbers that cc corresponds with are the different faders, knobs buttons | #the numbers that cc corresponds with are the different faders, knobs buttons | ||
if cc == 23 | if cc == 23 | ||
control le, amp: val / 127.0 | control le, amp: val / 127.0 | ||
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end <br> | end <br> | ||
end | end | ||
==== Extratonal Infrastructures at Varia ==== | |||
Trying the performance at Varia, Extratonal Infrastructures on Friday June 16 2023. | |||
[[File:From out.jpg|thumb]] | |||
[[File:Playing.jpg|thumb]] | |||
[[File:PXL 20230616 212155964.jpg|thumb]] | |||
'''Snippets''' <br> | |||
[[File:Snippet1.mp4|thumb]] <br> | |||
[[File:Snippet2.mp4|thumb]] <br> | |||
[[File:Snippet3.mp4|thumb]] <br> | |||
[[File:Snippet4.mp4|thumb]] |
Latest revision as of 20:42, 19 June 2023
First Year
Si16
Personal reflection
In the SI16 I co-produced the project "...And I wish that your question has been answered". I also participated in the writing of the Manifesto of and the Terms of service of the publication. In the project I worked on the functions Respell, Stitch and Reveal, which are based on the Replace Python function. I was occupied by the urge to understand how the choice of specific words inside a text can shape our ideologies. In that sense I proposed to use the three functions on the political speeches of Mark Rutte and Kiriakos Mitsotakis, prime ministers of Netherlands and Greece, about the pushbacks on the EU borders. As a result, we came out with an interface where a user can interchange specific words of these 2 speeches with others words, characters or blankets in order to disrupt and question the meaning of the original texts.
...and I wish that your question has been answered
About
This text is a transcribed excerpt from the Press Conference that followed the meeting between the Greek Prime Minister Kyriakos Mitsotakis and the Dutch Prime Minister Mark Rutte on November the 9th, 2021 in Athens. During the Q&A, the Dutch reporter Ingeborg Beugel asked Mitsotakis for clarity and honesty referring to pushbacks which Greek border guards keep committing towards refugees, while the Greek Government systematically conceals such violence. She continued by asking Mark Rutte what the political stance of the Netherlands towards refugees' relocation and Mitsotakis's policy would be.
The choice of this text as our source material has different reasons. First of all, we were interested in how language can produce categories and shape identities: how does wording create precise borders between the "us" and the "them"? Our second step would be reflecting on text processing strategies through which a speech or a narration can be recontextualised and reclaimed. By replacing or taking out words of a discourse, and thus making some parts of it interchangeable, we tried to highlight how its phrasing is never neutral, but always a choice led by a particular purpose.
We decided to work on this text as the Press Conference took place at the moment we were developing our research, and as we were really interested on the distinctive rhetoric strategies that Beugel, Mitsotakis and Rutte choose for voicing their goals. It is clear that the reporter uses an emotional and provocative tone to address Mitsotakis' politics, which challenges his composure to a point where he can not keep it anymore, while when talking to Rutte, her speech is more calm and detached. In response to her question, both Prime Ministers refuse responsibility of their actions: they use a rather managerial and pre-designed language to neutralize the reporter's provocation while at the same time praising the generosity and the efforts of their countries. In particular, Mitsotakis denies any of Beugel's accusations and declares them as unsupported assumptions which is a mere demonstration of power. Alongside, Rutte uses a colder and more restrained language to rationalize the EU and the Greek Government's choices: While shifting the responsibilities for refugee protection, he actually justifies the crimes that are committed within the EU borders as an inevitable "tough, but fair, policy".
Concerning our project, it is an act of persistent resistance. We created three functions to facilitate an iterative process of refusal towards the two Prime Ministers' answers and any of their possible versions. We invite you to play as much as you want with these functions and create your own answers as counter-reaction to Mark Rutte's final sentence: "So this is my answer and I wish that your question has been answered". Every new answer, every new iteration, can be submitted to our Archive of Repetitive Answers. Although they will never be good enough, nor shall they be accepted as exhaustive, we consider the modified answers as a trigger for a never-ending dialogue.
Research
Articles about pushbacks in the EU borders, that influenced the editing of the functions.
- https://www.lighthousereports.nl/investigation/frontex-chapter-ii-complicit-in-pushbacks/
- https://www.spiegel.de/international/europe/eu-border-agency-frontex-complicit-in-greek-refugee-pushback-campaign-a-4b6cba29-35a3-4d8c-a49f-a12daad450d7
- https://www.bellingcat.com/news/2020/10/23/frontex-at-fault-european-border-force-complicit-in-illegal-pushbacks
- https://www.lighthousereports.nl/investigation/torment-in-turkey/
- https://www.lighthousereports.nl/investigation/unmasking-europes-shadow-armies/
- https://www.lighthousereports.nl/investigation/frontex-in-the-central-mediterranean/
- https://www.keeptalkinggreece.com/2021/11/17/beugel-greece-safety-leave-dutch-journalist/
The pad that we analysed the corpora, and therefore formed our strategies
Functions
Respell
Respell receives as input a text as a string type, and substitute all the occurrences of a targeted word with a replacement as a string type chosen by the user.
from nltk.tokenize import word_tokenize # text, target, and replacement are string types def respell(text, target, replacement): target = target.lower() txt = word_tokenize(text) new = [] for w in txt: if w == target: w = replacement new = new + [w] elif w == target[0:1].upper() + target[1:]: w = replacement[0:1].upper() + replacement[1:] new = new + [w] elif w == target.upper(): w = replacement.upper() new = new + [w] else: new = new + [w] text = ' '.join(new) final= text.replace(' .','.').replace(' ,',',').replace(' :',':').replace(' ;',';').replace('< ','<').replace(' >','>').replace(' / ','/').replace('& ','&') return final
This function in itself could be understood as a filter to process and alter texts. By targeting specific words and replacing them, either for another word, for specific characters or for blank spaces, the user of the tool can intervene inside a text. One could break down the meaning of a text or create new narrative meanings by exposing its structure, taking out or highlighting specific and meaningful words and detaching such text from its original context. This tool offers a broad spectrum of possibilities in which it can be used, from a very political and subversive use, to a more playful and poetic one.
Stitch
Stitch receives as input a text as a string type, and replaces all the occurrences of a target word, with a character or a word that is repeated as many times as the length of the target.
from nltk.tokenize import word_tokenize # text, target, and replacement are string types def stich(text, target, replacement): target = target.lower() txt = word_tokenize(text) new = [] for w in txt: if w == target: w = len(w)*replacement new = new + [w] elif w == target[0].upper() + target[1:]: w = len(w)*replacement new = new + [w] elif w== target.upper(): w = len(w)*replacement new = new + [w] else: new = new + [w] text = ' '.join(new) final= text.replace(' .','.').replace(' ,',',').replace(' :',':').replace(' ;',';').replace('< ','<').replace(' >','>').replace(' / ','/').replace('& ','&') return final
This function in itself could be understood as a filter to process and alter texts. By targeting specific words and stitching them, with a character or a word that is repeated as many times as the length of the target , the user of the tool can intervene inside a text. One could break down the meaning of a text or create new narrative meanings by exposing its structure, taking out or highlighting specific and meaningful words and detaching such text from its original context. This tool offers a broad spectrum of possibilities in which it can be used, from a very political and subversive use, to a more playful and poetic one.
Reveal
Reveal takes a text as string input and deletes all its characters except the input list of words.
def reveal(text,group): txt = word_tokenize(text) txt_linebr = [] for token in txt: if token == '<': continue elif token == 'br/': token= txt_linebr.append(token) elif token == '>': continue else: txt_linebr.append(token) new = [] for w in txt_linebr: if w==: new = new + [w] elif w not in group: w = len(w) * ' ' new = new + [w] elif w in group : new = new + [w] text = ' '.join(new) final= text.replace(' .','.').replace(' ,',',').replace(' :',':').replace(' ;',';').replace('< ','<').replace(' >','>').replace(' / ','/').replace('& ','&') return final
This function in itself could be understood as a filter to process and alter texts. By chosing to keeping specific words of a text and deleting all the others, the user of the tool can intervene inside a text. One could break down the meaning of a text or create new narrative meanings by exposing its structure, taking out or highlighting specific and meaningful words and detaching such text from its original context. This tool offers a broad spectrum of possibilities in which it can be used, from a very political and subversive use, to a more playful and poetic one.
Online publication of the interface
...And I wish that your question has been answered interface
Zines for the launch event with an answer made by us
We created several zines for the launch event. Each zine had consisted of the original question and the original answer + an answer that we each one of us created through our functions
Si17
Personal reflection
On the Special 17 I put my attention on how can we work with more care as a group. How can we have our individual needs met, while still we meet the production deadlines. I have a lot to learn on how to express my needs and how I can contribute in a non-violent group communication. In terms of the publication, I co-developed and co-created the production of the contents. Mostly, I edited the collective inputs, while I participated in the overall process of designing and outsourcing our material.
Si18
Personal Reflection
In this Special Issue I participated as a listener, a contributor and a caretaker. It was a rich experience to unplug from the screen and listen every week to each new release. The discussion after each launch was rich. We tryed to unpack what we collectively listened to and raise questions. As a contributor I experimented with the sonic dynamics of a public space, jamming outside with bottles, creating pop national anthems, experimenting with spoken word and detuning of my voice and my guitar. I was also into field recording and editing, trying a diffractive reading of a text and a video, jamming at La Generale in Paris. I did all these alone or by being part of a duo or a trio. As a caretaker, I put together the first release with Chae and curated the 4th release with Miriam and Erica. Finally I curated and performed the diffractive dj set with Alex and Supi at the Graduation Event of XPUB2.
Release 04 : The parliament
https://issue.xpub.nl/18/04/
Caretaking mitsa, erica and miriam
The jingle board Parliament
Release 05: Experiment with voice detuning
https://issue.xpub.nl/18/05/
https://hub.xpub.nl/soupboat/SI18/05/recordings/MiMi.mp3
detuning my voice in a spoken word track
Diffractive Dj Se with Supi and Alex, mixing contributions of all the releases
we made this DJ set as a way of publishing our 08 audio releases, at the Graduation show of the XPUB 2 at WORM.
https://media.xpub.nl/2022/gradshow/WalkieTalkie-XPUB1.mp4?fbclid=IwAR18OjRoXJo5zrMCCWqu0XR_vFFO8dl0lCViy3-K1KWAAuat3ggLgZo_iNo
Unpublic #81 PARIS, 22 JUNE 2022
https://unpublic.bandcamp.com/album/paris-22-june-2022
sound jam
Second Year
Thesis_an embodied journey on gender essentialism de.construction through a voice and a guitar
Introduction
Research Question
In which ways we can hear and deconstruct gender essentialism, if we approach it through a voice produced by somebody's phonatory system, or through a system of sounds emerging from a body's relation to a technological artefact - like a guitar -.
Sub-questions
I wonder in which ways a guitar located inside a patriarchal, anthropocentric and ableist culture orients a body into cis-heteronormativity and in which ways can a guitar support a fluid gender expression?
What are the consequences of technically classifying one's voice to a gender binary depending on their vocal
pitch?
In which ways can a voice deconstruct these technical classifications, while connecting to the here and
now of its embodied situation?
What can be the processes that help to caress and amplify queer voices, as the sound imprints created by the systemically unheard?
My guitar as regulation, my guitar as prosthesis
talking about gender through my story as a guitarist
Locating the guitar in relation to my body
"play like a man"
- introducing blue, the guitar that accompanied me while I was active in Greece.
- memories of out of placeness in jazz jams related to whom made sound and in what ways:
- Our instruments were approached as our bodies; to be tamed, to get the most out of them through constant practice, discipline and commitment.
- From Armitage and Thornham's Don't touch my midi cables : sound, technology, bodies, audience as contributors. Performance approached as a process that embraces latency, failure, slowness, things that don't work.
- Reading the jams as a space that reproduced gender damage based on competition, top down hierarchies, expansiveness
- I wonder if we can actually listen to the different relations and hierarchies involved in sound making processes.
while the guitar sits on my thighs and I hold it around my arms
- introducing the fretless guitar, that I brought with me when I moved to the netherlands
- relating the fretlessness as to: aknowledge critical voices on western music theory expansiveness. relating to institutionally undervalued, under-lighted music culture-heritage in greece
- as to re-learn the guitar's sound, to heal from my previous training and de-classify its body
- I am thinking of how my body gets touched by this guitar and how this instrument accompanies my journey of
embracing queerness and coming out as non-binary.
- I wonder if this sonic in-betweenness can open up a perception of a body's fluidity.
Gender embodiment through regulatory and prosthetic devices
From Preciado in Counter-sexual Manifesto:
- Regulatory devices: technologies that repress and fabricate bodies according to a hegemonic system.
- Prosthetic devices are these that get added to a living body and become part or extension of someone.
- seeing the guitar as potentially prosthetic and potentially regulatory
My voice coming from the inside, my voice negotiating with the outside, voices mapped and transformed
traces of embodying a queer voice
-timbre as texture; timbre transmits the unique physical situation, the imprint of the body that generated it.
-from Bonnenfant: voice as social touch, as fingerprints that urge to reach other bodies. Which bodies do we allow to be reached by?
-what about those voices that have learnt to be out of reach?
-implementing experiential knowledges of frictions, misfittings and alienations around having a voice and being part of the lgbtqi+
traces of queer collective voices
- insights about the political nature of having a voice
- protest as a concerted, political sound practice for creating collective spaces
- introducing the self-organised Patras Pride
- our vocal timbres shifted; a collective queer timbre for reaching others that sounded like us / wanted to be reached by that timbre
the gender neutral classification
- the case study of "Q: the first Genderless AI assistant" in order to talk about constructing a gender essentialism in vocal sound production, based on a voice's frequency range
voice as an exit door to transformation
- From Preciado's text Another Voice: perceive someone's voice as dynamic, fluctuating; imagining relations, connections and interpretations beyond the gender binary
Jamming as a process for creating safer spaces
- jamming for creating connections
- main interest the process around the gig's preparation
- evolving a ritual of speaking out our emotions before engaging into the sound making
- building trust between us
- trying to approach performance as a process; Sound, equipment and us as co-contributors
Conclusion
Coming back to research question and subquestions.
Thinking of the future.
Practice and Graduation Project
jams as safer space on action / parallel practice, that influenced the graduation project
playing at re#sister radio with Alex and Supi on February 12 2023
preparation: I refer analytically to that in the thesis
Announcement text
This Sunday the research of Supisara Burapachaisri, Ål Nik and Mitsitron will meet at a Sound Jam at WORM. We are happy to invite you to join us at #Wunderbar or online at Radio WORM - we will be part of Expanded Radio’s session with spotlight is on RE#SISTER, WORM’s very own studio community run by and for female and non-binary musicians!
Our performance will be an improvisation based on a visual score we’ve been working on during the last week. The three of us were experimenting by asking ourselves questions, connected to our current researches, part of our master programme of Experimental Publishing at the Piet Zwart Institute. We created and collected images that resonate with our research queries and turned them into cards. Those cards will serve as a visual score of our performance.
We have been questioning “performing” as a concept, oftentimes associated with perfection, pressure and preparedness. What if we focus on the process instead? Is there a way to embrace slowness, latency and even failure? To put our attention on the small scale instruments and sounds, play with the basics. To be fully present in the current moment and space. Our sound jam will explore these questions.
Where: Radio WORM & Wunderbar When: doors 14:30, start 15:00 h // 12-02-2023 More info: https://worm.org/production/expanded-radio-16-resister/
playing at VARIA with Kamo and Alex at Extratonal Infrastructures, April 29 2023
3 parts,
impro.
listening and responding
File:352591952 7361766433850368 4881866066540879741 n.mp4
Research Log
https://pzwiki.wdka.nl/mediadesign/Research_Log
voice feminisation and timbre
Process for making a live coding process around vocal timbre, embodiment, gender inscriptions
first prototypes with sonic pi that influenced the final
Here are tryouts with small vocal excerpts I recorded. I tried to loop steadily and not, to pitch, to stretch. The samplews were excerpts from the text of the thesis.
From these experiments, the randomness factor was decisive in the sense of losing control. Sound modulating you as well
#first time that i enter my own breath on the code #it is moving, deep, is like listening to my old self, or to the air, there is a level of intimacy #that i cannot put into words define :mybreath do with_fx :reverb do use_bpm rrand(5,100) live_loop :breath do sample "C:/Users/luzza/Desktop/samples/my breath2.wav", amp: rrand(1,3), rate: rrand(0, 2), pan: rrand(-0.8,0.8) sleep 1 end end end
#layering and repeating the voice changing the point of repetion in time define :staticloop do #with_fx :reverb do live_loop :sentence do use_bpm 350 sample "C:/Users/luzza/Desktop/samples/sentence.wav" sleep 5 end #end end #a mechanic, static repetition that interfers with the clarity of the message #it's interesting how agressive it becomes quickly #but then it is static, like a machine that is working
define :fluctuatingloop do #with_fx :reverb do live_loop :sentence do use_bpm rrand(5,1000) sample "C:/Users/luzza/Desktop/samples/sentence.wav", amp: 2 sleep 5 end #end end #a fluctuating, repetition #it opens up interpretation, the changing rythme says something about a structure? #i hear how it is to be like a wall, when the one voice bumps into each other #and i feel the gap when there is a big stop between the one voice to the other #not really agressive
#stretching my vocal excerpt talking about a moment of misgendering define :exposure do #with_fx :reverb do live_loop :sentence do #use_bpm rrand(10,1000) with_fx :pitch_shift, pitch_dis: 0.001, pitch: 2 do sample "C:/Users/luzza/Desktop/samples/misgender.wav", amp: 2 sleep 10 end end end #i feel exposed. #i am not sure how it works. #like if it works with the stretching or if it is like too obvious #it feels better that the voices don't overlap with each other because then it becomes too dramatic #the weird element of fast and super slow. can feel sometime really econographic with a speech #because this has been probably overused in satire, it creates an awkward childish result #when my real voice appears, it's like i am exposed... like we understand for whom we talk about #like the masks are falling
define :masc do #with_fx :reverb do live_loop :sentence do #use_bpm rrand(10,1000) with_fx :pitch_shift, pitch_dis: 0.001, pitch: rrand(-15,5) do sample "C:/Users/luzza/Desktop/samples/misgender.wav", amp: 2, krush: 10 sleep 10 end end end
Thanks for listening_Graduation project
Process:
-Creating an instrument through a midi device, cables, sonic pi, a sound card, speakers, my laptop, my voice, my body for making a live coding performance
-improvising for deciding the feautures of the instruments. The code and my capabilities on the language puts the constraints and defines the ways I use my voice for the performance.
-the text i voice is created through the impros in response to the instrument's sounds and through the concpets analysed in the thesis.
text introducing the performance
Thanks for listening is a live coding process, a system created by a body, cables, a borrowed midi device, a microphone, a sound card, Sonic Pi, speakers, memories, desires, discomforts and vulnerability.
The force driving this research are questions such as: How we embody gender by the ways we use our voices. How a gender binary categorises bodies depending on their vocal frequency behaviour. How sound production and instruments when located in cis-hetero spaces potentially amplify biases. And how they can potentially become a healing part of someone.
In this perfomance, I position my body as an extension of sound and sound technology. I create voice through my phonatory system, which gets modulated in controllable and uncontrollable ways. A midi controller which receives data from sonic pi is pitching, stretching and looping the voice that is plugged with, through knobs, faders and buttons. A partial narration, a passive whisper or a shout on having an ανώμαλη, anomalous voice is commented in the beginning of the code and vocalised throughout the performance.
messy pad with notes from where I chose the text for the performance
This pad got created through a series of improvisation I had with the instrument.
Through listening to the soundscape created by the my voice and the different types of stretches and pitching and respond to them through words.
I also tried to implement thoughts that evolved throughout my thesis, but in a more oral, here and now way.
https://pad.xpub.nl/p/processing_the_perfomance_i_am_a_hipster
representative recording
This recording is one of the many impros I had during the process of creating the performance.
The "final" thing will sound something like that.
I have some anchor points as a score that I try to reach throughout the playing.
https://hub.xpub.nl/soupboat/~mitsa/XPUB2/final%20assesment/modulate%20me_mp3.mp3
Finalised Script for the live coding performance in sonic pi
File:352845371 6439099259462777 5305920842621635230 n.mp4
File:353067575 9318771208197045 6476006884235405665 n.mp4
File:353465721 6673688296015997 2610817662109932067 n.mp4
#heyy can you hear me? #do I reach you? #do I wanna reach you? #do you want to be reached by me? #I am so happy that you are here tonight #I am so happy that you came here to listen to me #Thank you, thank you so much #I would like to be bigger #i don't know what to do with all this energy #i was taught to be scared of it #I am a small creature #Trapped inseid a eh eh ehe eh eh eh... body #What do you think? #What do you think of me? #They wanted to put my head into the ground #They didn't want us! They don't want us! #I can stay in the corner and observe #I can stay I can open my ears and listen #We have learnt to hide #It's hard to not be recognised #It's like you don't exist, but you exist hahaha #You have a body #I like to adapt A LOT that's what i do in life #I just adapt my voice #What ? What ? Whaat? What the fuck is this? #STOP STOP STOOOOP #What do you do usually? Do you adapt? Do you resist? Do you fight? #DO you fly? Do you stay?? Do you leave? #i want to be regulated #i want ot be filtered #How do you filter what you hear? #FILTER MEEEEE #but did this even happen this way? #Did she say this did she love me or i don't know #I wanna go in the corner and suck my thumb #do i need to be stronger? #do i need to be oversized? #do i need to shrink? #do i need to be something more? #do i need to be something less? #do i need to stand out? maybe #is that ok? #i am sorry, don't leave me #thank you i love you #thank you that you came to listen to me
#adding amplitude level with_fx :level do |le| #adding low pass filter with_fx :lpf, mix: 0 do |l| #adding pitch shifter with_fx :pitch_shift, pitch_dis: 0.001 do |p| #adding echo with_fx :echo, pre_mix: 0, decay: 2 do |e| #adding reverb with_fx :reverb, pre_mix: 1, room: 1 do |r| #for latency prevention use_real_time #inserting the microphone to the system live_audio :mic #a live_loop for mapping the midi faders, buttons and knobs with the above effects live_loop :process do #for latency prevention use_real_time #the variables cc and val are syncronised with the midi machine i use cc, val = sync "/midi:5-_zero_mkii_0:1/control_change" #the numbers that cc corresponds with are the different faders, knobs buttons if cc == 23 control le, amp: val / 127.0 end if cc == 24 if cc > 63.5 control p, pitch: (val - 63.5) / 1.7 else control p, pitch: (-val + 63.5) / 6 end end if cc == 25 control e, pre_mix: val / 127 end if cc == 26 control e, phase: val * 0.1 + 0.000001 end if cc == 73 control e, decay: val / 5 + 0.000001 end if cc == 75 control r, pre_mix: val / 127 end if cc == 70 control r, room: val / 127 end if cc == 20 control l, cutoff: val end if cc == 14 control l, mix: val /127.0 end #create a buffer of 10 seconds if cc == 77 with_fx :record, buffer: [:voice,10] do print "record recording" use_real_time live_audio :mic1 end end #play the buffer if cc == 95 print "play recording" sample buffer[:voice,10] end #small stretch of the buffer if cc == 7 control sample buffer[:voice,10], rate: val * 0.1 + 0.000001 end #bigger stretch of the buffer if cc == 10 control sample buffer[:voice,10], rate: val + 0.000001 end #reverse stretch of the buffer if cc == 22 control sample buffer[:voice,10], rate: -val * 0.1 + 0.000001 end #create a buffer of 100 seconds if cc == 82 with_fx :record, buffer: [:voice2,100] do print "record recording" use_real_time live_audio :mic1 end end #play the buffer if cc == 83 print "play recording" sample buffer[:voice2,100] end #small stretch of the buffer if cc == 74 control sample buffer[:voice2,100], rate: val * 0.1 + 0.000001 end #bigger stretch of the buffer if cc == 71 control sample buffer[:voice2,100], rate: val + 0.000001 end #reverse stretch of the buffer if cc == 85 control sample buffer[:voice2,100], rate: -val * 0.1 + 0.000001 end end end end end
end
end
#creating a second channel for my voice. this one is for the moments that i want the signal created by my vocal chords to be as not altered as possible with_fx :level do |le3| with_fx :pitch_shift, pitch_dis: 0.001 do |p1| live_loop :process2 do use_real_time cc, val = sync "/midi:5-_zero_mkii_0:1/control_change" if cc == 72 control le3, amp: val / 127.0 end if cc == 92 and val == 0 use_real_time live_audio :mic3 end if cc == 92 and val == 127 kill live_audio :mic3 end if cc == 19 if cc > 63.5 control p1, pitch: (val - 63.5) / 1.7 else control p1, pitch: (-val + 63.5) / 6 end end end end
end
Extratonal Infrastructures at Varia
Trying the performance at Varia, Extratonal Infrastructures on Friday June 16 2023.
Snippets
File:Snippet1.mp4
File:Snippet2.mp4
File:Snippet3.mp4
File:Snippet4.mp4