User:Angeliki/Grad-thesis

Thesis outline

Structure of the text: radio show, song, theatre play, script, python script, structure of phonetic rules (ref: "Speech for the stage"), structure of pocketsphinx

Statement:
How the voice occupies the public space.
The occupation of public spaces through the voice.
Voice_based communication platforms as radical tools of redefining the public space.
Public speech and the electromagnetic spectrum.
How communication platforms like radio electromagnetic spectrum raise questions on limited and restricted public spaces.
How the voice and speech give presence to the public.

Motivation:
(gender) exclusion in communication platforms like radio because of the exclusion in the technical knowledge of them. Redefining those mediums by appropriate them in a way that follows up the "situation"/position (cultural, political) of that person.

invisible frequencies
First topic: Radio/antennas are part of an invisible infrastructure (like internet?) that surrounds us. The radio is voice-based. The knowledge of the technology of it (exclusion-inclusion). It was a war medium. Reclaim it. The scanning,listening, sounds received. Radio amateurs. Gendered space. Communication platform of transeiving. Point A: Spreading the technology of radio and antennas: an approach of reclaiming the airwaves

1. Restrictions and rules
2. Radio stations: a tool to appropriate physical space and electromagnetic spectrum (ref:"Take it to the air").
3. Documentation of making antennas

Point B: Listening, scanning throughout frequencies understanding my surroundings.

1. Scanning through weird sounds, broadcasters. Documentation of scanning (sounds and text). Mapping the frequencies through 'live' speech recognition. Frequencies and text

Point C: Communication platform: sound/voice/frequency based (voice as frequency). Receiving and transmitting

1. Radio amateurs, artists, pirate radios. Documentation of interviews with pirates

speech/voice/phonetics
Second topic: The voice has a strong impact on the creation of common spaces. Sometimes that is consciously embedded in the behaviour of the people but many times the voice is controlled, isolated and used for the shake of commercial aims or the "public good". But how can we consciously use the voice as a medium for creating our own (common) soundscapes and being circulated, acting politically in all these spheres.
Point A: The voice gives presence.

1. How voices of the voiceless becomes present in counter- communication platforms. Radio communities, micro phonic demonstrations, occupy movements. Amplify the voice.
2. The need for embodied presence (ref:"Orality and literacy"). Speech acts. Voice not only as words.

Point B: New technologies, commercial and state manipulation over voice or exclusion of it

1. Control over voice (ref: articles of Gizmodo): when the voice and speech data become material for control by using speech recognition.
2. Radio restrictions/exclusions
3. Music and songs outside of stores

Point C: The voice creates commons.

1. The practice of gossiping (ref: text of Amy, "practices of everyday life"), phonetics, use of the voice from women as a way to create their own commons.
2. The voice circulated in communication platforms
3. Orality and literacy (technology and oral cultures)

leave a trace: politics of presence
Third topic:
Point A: The spatial perspectives of sound/the physical dimensions of it.

Point B: Radio and voice in space: Being present in the space and radio at the same time. Multiple voices (presence and absence).

1. Combination of voice and radio (two previous): Public space and pirate radios.
2. The parallel presence of it. Presence means also absence, means also receiving and listening. Akio Suzuki

Point C:Walking (ref:"Walking and mapping"), mapping, tracing, tracking, listening, murmuring. The private soundscapes created by it.

Revisions:
14/10/2018