User:Angeliki/Research writing: Difference between revisions

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.

@@ Line 2: / Line 2: @@
 <span style="color:#C9369B;font-size:55%;">John Anderson, presentation at Southern Illinois University, February 25, 2008.</span><br />
-=== Project proposal ===
+== Project proposal ==
-<i>
+[[User:Angeliki/Grad-proposal drafts|older drafts]]<br />
-What do you want to make?<br />
+Branches of project proposals: <br />
-How do you plan to make it?<br />
+[[User:Angeliki/Grad_project_speech_analysis|A. Re-humanizing voice samples]]<br />
-What is your timetable?<br />
+[[User:Angeliki/Grad_project_frequencies|B. Dialogue iterations with frequencies]]<br />
-Why do you want to make it?<br />
+[[User:Angeliki/Grad project loop|A+B. Human always in the loop]] <- trimester proposal<br />
-Who can help you and how?<br />
+[[User:Angeliki/Grad_project_proposal#Revisions|C. Streaming public speech]]<br />
-Who can help you and how?<br />
+<br />
-Relation to a larger context<br />
+<span style="font-size:24px; padding:10px; border:1px solid black;">[[User:Angeliki/Grad_project_proposal|Let's amplify unspeakable things]]</span>
-</i>
-<onlyinclude>
-Draft: Here I will write as many scenarios as possible popping out of my mind. And then I will choose what fits to me the best. I will imagine it as crazy as I can and then I will slow down.
-# Scan through platforms of speech/ public spaces and collect audio and text material related to speech/voice. Examples of platforms and spaces could be radio (all possible frequencies, youtube videos of occupy movements and other, outside space, blogs, social media, gossiping in public, in NL and GR). The collection will be audio samples and text being produced by the speech recognition of the audio. After that I will collocate them together on a way that produces new meanings and interpretations over the vocal presence of a body (either institutional or individual). This process will be visible/public and will happen in a live action in which I will invite people to interact with, either by listening or scanning or participating in an instance/stimulation of a speech platform/sphere or an instance of oral/vocal communication sphere. More specifically I would like to involve people in the process and the sphere (listening and scanning) that will be created. I want to make a live action, in which I invite people to participate in a collective reading/conversation online, in radio and physical space. Their voice will be amplified in such a way...
+=== 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.
-#I want to make a radio/sound scanner carrying it with me as I walk in the city and transcribe everything I listen to (gossiping etc./like small antenna of Christina Kubisch listening to mobile phones of passengers).
+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.
-At the same time I will realize small interventions
+'''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.
-:-An FM frequency where people can get connected and broadcast instructions that other people will follow somewhere else (O' Rourke pg. 125)
+'''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.
-:-People producing phonemes broadcast through radio frequencies. Connect to one frequency. There is 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. I can write down all their words (technical and weather only)
-:-The text circulated in the digital sphere (social media, news etc) read/broadcasted (espeak?people participated to create phonemes?) live to participants while walking in the city. Choosing spots that have an importance (historical, political, surveillance spots etc) in relevance to my documentation and research.
-:-In reverse: sounds/voices/speeches of the electromagnetic-online realm being transcribed to a text that is shared to the public.(ex: Here While We Walk)/ the text becomes part of the walking
-:-Points of local networks, temporary spaces/platforms traced on the map, activating conversations, reading rooms?. Series of interventions.
-:-Taking my research text into the archival material (texts, transcriptions, voices, speeches) being compared
-:-Lines and antennas: to set up an antenna requires material, sometimes from the location. Physical location of antennas, range, traces, routes of people in attempt to set up an antenna
-:-What about a platform for people to , add voices, antennas, coordinates/ like a map
-<s>An attempt to: <br />
+'''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.
-Walking, parallel actions. Setting up local networks of writing and reading and working with programming. Reading rooms. Deconstruct research methodologies by collaborating together in the physical space while being in the cyber. Bringing conflictuous contexts together. How the language is an error, how projects with the language become a tool for communication and interrogation as a group, collective.  Collaborating and communicating/antennas hardware. Hack the available medium into each instance/context I will be involved.
-Writing abstracts mostly and use them as a first raw material to experiment with. Working with software that seems related even if it looks irrelevant, like antennas software, speech recognition, local networks, python/nltk?, pirate libraries. While writing and prototyping I intend to interact with public spheres. I would like to try interact with contexts outside of my known area, like the art-initiatives in Philippines (already interacting) and Greece/Romania or local groups here and communities online. </s>
-The steps I want to follow:
+''Projects from other artists:''<br />
-:-<s>interview people related to pirate radio (Reni Hofmüller)</s>
+'''(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.
-:-<s>find references that are not so academic</s>
-:-prototyping scan frequencies
-:-prototyping with radio/antennas and webcast/broadcast and embroidered antennas
-:-<s>prototyping with mapping and lines (scripts of walking/coordinates to lines)</s>
-:-<s>prototyping with speech recognition</s>
-:-prototyping with synopsis
-:-<s>Set-up a platform to document prototyping, writing, experiments in public. People can contribute to that. Comminication friction. leave a trace. Establish temporary platforms</s>
-:-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)
-:-searching archives like city archive, Kootwijk history, radio communities
-:-search for technologies that are already made for surveillance and are related to speech recognition in the city
-:-<s>Collect bibliography</s>
-:-<s>Setting up questions</s>
-:-<s>Reading- Making abstracts</s>
+== 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 ==
-The reason I am doing that:<br />
+=== Workshops ===
-: voice as presence in the public space through the absence of the body.
+'''The Edges of the Voice'''
-:-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.
+Reading Room #29, Stroom, Hague. ** Took the text "the gender of sound"
-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 behaviors 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? I can imagine living in the world of voices.
+'''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.
-Who could help me:<br />
+'''QueerFeministGeeks - MeetUp'''
-XPUB gang, Reni Hofmüller ,Roel, Matt, Joanna,...
+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.
-Previously:<br />
+'''Tactical Embodiment'''
-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. My way of working looks like an alien creature but weirdly make sense; I combine different unrelated (technically and conceptually) software with the purpose to follow the concept behind.
+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.
-Larger context: <br />
+'''Commie curious'''
-locative media, urban tactical media, hacktivism, occupy movements, radio amateurs, text as a social space, architecture and media, radio public sphere, tracing, vernacular, misreading, platforms, phonemes, phonetics, tracking, speech recognition, local networks, temporality, databases and GPS/sql
+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.
-More specific:
-:radio art, electromagnetic public sphere, platforms of communication and how to contest them, broadcasting and webcasting
-:mapping tools, walking practices
-:voice as a tool, speech recognition, transcriptions, voice in communication platforms
-:in relation to the above interventions of text
-</onlyinclude>
+'''[https://radicalnetworks.org/participants/christopher-csikszentmihalyi/ RootIO: Community Radio as a Service] **haven't been'''
+([http://rootio.org RootIO Radio], Radical Networks, October 2018 )
-=== Approaching writing/Thesis ===
+This workshop introduces participants to the RootIO platform, and takes them through the steps of creating a station.
-[[User:Angeliki/Grad-thesis|Thesis outline]]<br />
-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.
+'''[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.
-Example of "blurry" writing:<br />
+=== Projects ===
+'''http://joy.nujus.net/w/index.php?page=NMSAT.en'''
-"No_vowels poem"
+''' http://laps.artoffailure.org/isl.html'''
-{{:Angeliki/Prototyping_2}}
-[[File:Walking the text.jpg|500px|walking_the_text]]
+''' https://www.vpro.nl/programmas/tegenlicht/kijk/afleveringen/2018-2019/mijn-stad-is-mijn-hart.html'''
-[[File:Radio speech-coordinates lines.JPG|500px|radio speech-coordinate lines]]
-https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQuHs6xJWF5yEz3vcgM1RcS2mSYI71sI35NmIzSK20fNV29mx-D
+'''https://soundcloud.com/ain_bailey/furtive-furtive-suspicious'''
-<span style="color:red">Some formats: interviews</span>
+'''http://dewidevree.org/magnetoceptia-2/'''
-=== Questions ===
+'''https://somafm.com/sf1033/songhistory.html'''
-* How is the media sphere related to public spaces? How they do construct the space?
-* 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?
-* <s>Is it object, is it an endless process, is it an action?</s>
-Steve's questions:
+'''https://www.facebook.com/events/1490432824557428/'''
-* 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...
-(make a list of whys, questions, silly or not, eternal, going closer to the core)
+'''http://p-node.org/doc/index.php/Main_Page'''
-'''Mood'''
+'''http://www.aftersound.co.uk/'''
-<s>Being practical/mechanical/physical and at the same time conceptual/intuitive
-:::::::::-----the core and the surroundings-----
-Being an insect having or creating antennas. Being in place and being absent. Being expert to my tools and mechanisms.
+'''http://www.tadeosendon.com/temporary-local-broadcast/'''
-The non-art
-Hack the media surrounding us, use them as artistic tools (antennas, locative/in-situ? installation in between spaces, digital, physical, cultural)
-layers of sharing</s>
-=== [[User:Angeliki/Grad-Abstracts & Synopsis|Abstracts & Synopsis]] ===
+'''[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.
-=== Interviews ===
+'''[http://www.readysubjects.org/projects/publicsquare/publicsquare_html/html_home.html The public square]'''
-Reni Hofmüller:<br />
+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.
--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 />
-=== References ===
+"[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.
-[[Sample_librariesLink|Libraries to look at]]
+The well was placed in several public places around the town of Groningen.<br />
-* Auge, M., 2009. Non-Places: An Introduction to Supermodernity, 2 edition. ed. Verso, London ; New York.
+''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.''
-* 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.
-* 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.
-* 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).
-* Galloway, A.R., 2004. Protocol: How Control Exists after Decentralization. MIT Press, Cambridge, Mass.
-* Genette, G., 2010. Paratexts: Thresholds of Interpretation. Cambridge University Press, Cambridge ; New York, NY, USA.
-* 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.
-* Jane Rendell, 1999. Introduction: ‘Gender, Space,’ in: Borden, I., Penner, B., Rendell, J. (Eds.), Gender Space Architecture: An Interdisciplinary Introduction. Routledge, London ; New York, pp. 225–239.
-* Joseph-Hunter, G., 2009. Transmission Arts: The Air That Surrounds Us. PAJ: A Journal of Performance and Art 31, 34–40.
-* 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.
-* 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
-* 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
-* 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.
-* Oliver Marchart, 2011. Art, Space and the Public Sphere(s). archive public.
-* 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&#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
-* Place, Space and Purpose [WWW Document], n.d. . Ibraaz. URL https://www.ibraaz.org/interviews/168 (accessed 8.28.18).
-* Saskia Sassen, 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.
-* 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.
-* The Murmuring of the Artistic Multitude, n.d.
-* 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.
+'''[[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.
-==== Projects ====
 '''[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.
@@ Line 207: / Line 149: @@
 {{vimeo|173325533}}
-==== Workshops ====
+'''Calle, S., Baudrillard, J., 1988. Suite Venitienne/Please Follow Me. Bay Pr, Seattle.'''
-'''[https://radicalnetworks.org/participants/christopher-csikszentmihalyi/ RootIO: Community Radio as a Service]''' ([http://rootio.org RootIO Radio], Radical Networks, October 2018 )<br />
-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]''' (r∆∆dio c∆∆rgo and Spideralex, Rencontres BANDITS-MAGES, November 2018)<br />
+'''Galloway, A.R., 2004. Protocol: How Control Exists after Decentralization. MIT Press, Cambridge, Mass.'''
-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.