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| <span style="color:#C9369B;font-size:55%;">John Anderson, presentation at Southern Illinois University, February 25, 2008.</span><br /> | | <span style="color:#C9369B;font-size:55%;">John Anderson, presentation at Southern Illinois University, February 25, 2008.</span><br /> |
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| === Project proposal ===
| | == Project proposal == |
| [[User:Angeliki/Grad-proposal drafts|older drafts]]<br /> | | [[User:Angeliki/Grad-proposal drafts|older drafts]]<br /> |
| <span style="color:red;">NEXT: make small proposals/paragraphs for every topic</span> | | 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> |
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| '''Topics:'''<br />
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| a tactical voice: hacking the voice/ hacking the tools of voice/ tactics of reclaiming the voice in spaces that surround us/ public space and voice/ public space and communication platforms<br />
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| Voice as a medium of networking and activating public spaces<br />
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| voice presence in diverse spheres (physical, airwaves, online)<br />
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| the power structure and control over the voice: speech recognition tools and the use of the voice as a commercial tool <br />
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| hacking the space, the voice
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| the access of our voice/ the gender and the space of the voice:<br /> | | === Previously === |
| social and political context, gender: gossiping as a way to establish the presence<br />
| | 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. |
| non-access because of technical ignorance and social hierarchies: radio/antennas (FM, AM, satellites)- activism of the voice/hacking the radio/re-visiting br />
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| | 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. |
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| '''Project title:'''<br /> | | '''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. |
| '''A (tactical) voice of one's own.''' <br />
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| '''Walking, listening, scanning, transcribing, talking, gossiping, tracing, streaming, being present, leaving, looping'''<br />
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| The project is about an invitation on realizing the power of our (embodied) voice in the diverse spheres that surrounds us (and transfer it) and tactics of appropriating the tools that interact with it. I will realize that by first providing ways of approaching, accessing and mapping/documenting the tools and platforms that appropriate voice, especially speech recognition tool and radio, but also documenting those practices that will be realized. For example, a software that I will create will provide a way to scan/listen to frequencies and other speech related platforms and transcribe what it is said live. Next, I intend to create a 'channel' through which people will be able to transfer speeches, phonemes, voice sounds, text and coordinates to an accessible web platform. In questioning the act of speech and the platforms that transfer it, I want to make visible the transcendence of the voice and its political power in those spaces. This will be done with actions of walking in the city and talking through a device that will stream the voices back to a web platform as a text being visible in mutliple people's gatherings. The walking practice itself is like receiving, listening, scanning, and as an action that produces space. <br />
| | '''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. |
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| <img src="http://pzwiki.wdka.nl/mw-mediadesign/images/0/0b/Streaming_FM2text-django.gif" width=100%>
| | '''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. |
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| The textual representation of voice is the presence of the voice in the media sphere and important element of the speech tools and media platforms. ''In The Practice of Every Day Life, De Certueau analysed popular culture not as a ‘domain of texts’ or artefacts but rather as a set of practices or operations performed on textual or ‘text like structures’.'' (the ABC of tactical media, p.91). My approach is more the one of the tactical media.
| | ''Projects from other artists:''<br /> |
| Examples of platforms and spaces could be radio (all possible frequencies), youtube videos and other, outside space/stores, blogs, social media, gossiping in public, in Netherlands, Greece,... The collection will be audio samples and text being produced by the speech recognition of the audio. The collection of the text and sounds recorded and streamed will be collocated together on the platform on a way that produces new meanings and interpretations over the vocal presence of a body (either institutional or individual).
| | '''(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. |
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| More specifically the live action will be like that: This process will be visible/public and will happen in a live action (here and now) 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. I would like to involve people in the process and the sphere (listening and scanning) that will be created. This sphere that people will participate could be a collective reading/conversation online, in radio and physical space. The purpose is the voice to be amplified in such a way that raises questions over the presence in public spaces (virtual,digital,online or physical)./Introducing feedback voice technologies as a process of thickening the space. <br />
| | == Thesis == |
| [[File:Radio speech-coordinates lines.JPG|500px]] | | [[User:Angeliki/Grad-thesis|Thesis outline]]<br /> |
| | [[User:Angeliki/Grad-thesis-chapters|Draft of first chapter]]<br /> |
| | [[User:Angeliki/Grad-thesis-essays|Essays]]<br /> |
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| | <span style="font-size:24px; padding:10px; border:1px solid black;">[[User:Angeliki/Grad-thesis|Final Thesis: Let's Talk About Unspeakable Things]]</span> |
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| | 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. |
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| '''How I want to make it:'''<br />
| | === [[User:Angeliki/Grad-Abstracts & Synopsis|Bibliography & Synopsis]] === |
| '''Collection of material: Listening/ Walking/ Scanning'''
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| :-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/radio signals/noise). As a small sculpture of the moment of conversations in public spaces.
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| :-Making antennas and listening to what is broadcasted in different frequencies. Directing the antenna with my body with the purpose to find the source. Walking with it in the city. Try the AM antenna
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| :-Developing scan tools and trying them out.
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| '''Streaming'''
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| :-Creating local networks and instances outside where people will be able to talk to.
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| :-Or carrying a device that will broadcast and receive speech
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| :-Streaming and collecting everything on a web platform
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| :-The data (like voice, time, coordinates) of the people participating will be sent to the platform
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| '''Experimenting with software and concepts'''<br />
| | === Interviews === |
| During my process I will realize small interventions and experiments that will support my concept of the tactical (embodied) voice. Ideas for that:
| | ==== Reni Hofmüller ==== |
| :-A device with which you record and transcribe conversations of people/ radio frequencies outside
| | -What is your relation with antennas and radio? why are you interested in them?<br /> |
| :-Ask to broadcast in an FM frequency where people can get connected and broadcast instructions that other people will follow somewhere else (O' Rourke pg. 125). In the same frequency people would be invited to speak or send recorded audio resembling phonemes. In the same frequency also the collected sounds could be broadcast. Extracts of texts will be shared to participates to choose? Conversations of topics- silence
| | -How did you gain this knowledge? <br /> |
| :-The text circulated in the digital sphere (social media, news etc) read/broadcasted (espeak?people participated to create phonemes? fake voices of politicians) 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.
| | -Did your gender affected your involvement to radio technologies and culture and your first choice?<br /> |
| :-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/ artist with the pool
| | -Did you see radio as a different tool than what is perceived to be?<br /> |
| :-Points of local networks, temporary spaces/platforms traced on the map, as you walk and talk you are traced, activating conversations, reading rooms?.
| | -How did you set-up radio stations? legal or illegal?<br /> |
| :-Taking my research text into the archival material (texts, transcriptions, voices, speeches) and manipulate it with the tools that I will create
| | -How the speech and voice was part of your pirate radio attempts?<br /> |
| :-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 direct an antenna
| | -Describe me your how it was to do such projects in public space. |
| :-Scanning my physical surroundings, speech recognition to everything. The representation of the street through is radioactive fields
| | -What references would you propose?<br /> |
| :-Mapping and sending speech and coordinates to django while doing the walk tours
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| '''Documenting/ Presenting/ Publishing/ Participating (the action of travelling/transition)'''<br />
| | ==== Julie Boschat Thorez ==== |
| What forms of presentation are appropriate for this practice? I want to build a way for that. My project proposes a range of possibilities and parallel processes (live action, happening at the same time or with delay). | | - What were the main difficulties of documenting a work like the UBERMORGEN's work?<br /> |
| "since the arts are grounded in the material structure of society, artists must revolutionize the means by which their work is produced and distributed. One way this can be accomplished is for authors to be involved in publishing"(O'Rourke, pg.xiii)
| | - 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? |
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| '''The steps I want to follow till December:'''<br />
| | ==== r∆∆dio c∆∆rgo and Spideralex ==== |
| :-Writing abstracts, synopsis, essays
| | <div style="color:red;"> |
| :-Editing project proposal,thesis outline, chapters
| | Regarding your workshop "ONDES SAUVAGES, FEMINIST FUTUROTOPIAS" I would like to make some questions |
| :-Hackpact and collecting material from my experiments
| | - How did you produce text, narrations and involved dreams, phantasies into your broadcastings in relation to the technology. |
| :-Attend workshops and lectures on radio and speech recognition (CCC, FOSSDEM, RADIO MACCBA) | |
| :-Conduct more interviews and transcribe them (Julie, RootIO, RADIO MACCBA)
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| :-prototyping scan frequencies
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| :-prototyping with radio/antennas and webcast/broadcast and embroidered antennas (I can walk with them)
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| :-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)
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| :-searching archives like city archive, Kootwijk history, radio communities
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| :-search for technologies that are already made for surveillance and are related to speech recognition in the city
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| :-<s>interview people related to pirate radio (Reni Hofmüller)</s>
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| :-<s>find references that are not so academic</s>
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| :-<s>prototyping with mapping and lines (scripts of walking/coordinates to lines)</s>
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| :-<s>prototyping with speech recognition</s>
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| :-<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>
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| :-<s>Collect bibliography</s>
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| :-<s>Setting up questions</s>
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| :-<s>Reading- Making abstracts</s>
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| | </div> |
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| '''The reason I am doing that:'''<br />
| | == Old References == |
| What is the reasonable follow-up action to my reason?<br />
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| Generally, I want to dive into the in between space of media and physical landscapes. Regarding the expanses of public spheres in diverse spaces interesting networks are created that can stay active by circulating the knowledge produced by the people being involved. Knowledge is circulated also through the speech and the voice of people in internet, electromagnetic spheres, communication platforms in general and physical spaces. The small conversations/murmurings/gossiping spread around those communication platforms are making a public space, that differs from the public access in spaces as Saskia Sassen mentions and the big political, religion, institutional speeches dominating the public spaces. Seeing the documentation of these voices/sounds/speeches as an archive of collective memory, this material could be placed together on a way that proposes alternative of perceiving ourselves individually and collectively into those landscapes. It can also propose other ways of "publicness". As Ong observed in ''Orality and Literacy'', the condition for a democratic social dialogue in oral cultures was the presence of people in the space and their oral speech and thus after many discussions and performative behaviours they would reach to a decision together or they would just share their individual identities and stories. At the same time peoples voices are used for the creation of phonemes that would help the "machine" to understand, recognize and imitate human voices, conversations. How political decisions affect those spheres? <br />
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| My initial motivation to do this project is (gender,educational,cultural) exclusion, that I have felt, in communication platforms like radio because of the exclusion in the technical knowledge of them. Another reason is my experience in a previous project I had regarding what voice/speech triggers in public spaces and the power of the invisible soundscapes to create borders and social spheres. My purpose is to redefine those mediums (like radio) by appropriate them in a way that follows up the "situation"/position (cultural, political) of a person. But also to subvert the use of speech recognition software and radio as a tool for control and war, misuse the errors of the tool for the purpose of using the voice as a medium for presence. There is also a public sphere (inactive in terms of political and social aspects) called radio amateurs. How the voice can circulate through it? It is a gendered space. With the purpose to learn for it and approach it (revealing legal,gender,cultural obstacles) I would like to write down all their words (able only for technical conversations and weather) and put them together with other material.<br />
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| The voice is carrying the culture, gender and other elements of a person and can represent her/him in another space than the actual location of that person. I am interested in the voice as presence in the public space through the absence of the body and for its power to be an initiator for public assemblies, where people interact and exchange through [[User:Angeliki/Grad-Documenting#Speech_act|speech acts]].
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| | === Workshops === |
| | '''The Edges of the Voice''' |
| | Reading Room #29, Stroom, Hague. ** Took the text "the gender of sound" |
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| '''Who could help me:'''<br /> | | '''Voice and presence: how to be loud''' |
| Matt, Yoanna and Roel help me a lot with the construction of antennas and software for radio. Reni Hofmüller, who I interviewed, can help me in the future when the project gets more concrete as she has a great knowledge on radio (antennas, community radio, pirate radio). Yoanna can also help in the the general direction of the project as [[Leave_a_message|her graduation]] project was related to voice and public space
| | 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. |
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| '''Previously:'''<br /> | | '''QueerFeministGeeks - MeetUp''' |
| 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 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. |
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| '''Larger context:''' <br /> | | '''Tactical Embodiment''' |
| locative media, urban tactical media, media hacktivism, radio amateurs, text as a social space, architecture and media, radio public sphere, tracking, speech recognition, speech acts, orality
| | 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. |
| More specific:
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| :radio art, electromagnetic public sphere, platforms of communication and how to contest them, broadcasting and webcasting
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| :mapping tools, walking practices
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| :voice as a tool, speech recognition, transcriptions, voice in communication platforms
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| :in relation to the above: interventions of text
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| '''Other keywords:''' <br /> | | '''Commie curious''' |
| <span style="color:red;">thickening, parallel, embodied, transition, spatial</span>, occupy movements, vernacular, misreading, tracing, platforms, phonemes, phonetics,temporality, local networks, 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. |
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| | '''[https://radicalnetworks.org/participants/christopher-csikszentmihalyi/ RootIO: Community Radio as a Service] **haven't been''' |
| | ([http://rootio.org RootIO Radio], Radical Networks, October 2018 ) |
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| Whatever code we hack, be it programming language, poetic language, math or music, curves or colourings, we cre-
| | This workshop introduces participants to the RootIO platform, and takes them through the steps of creating a station. |
| ate the possibility of new things entering the world.... In art, in science, in philosophy and culture, in any production
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| of knowledge where data can be gathered, where information can be extracted from it, and where in that informa-
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| tion new possibilities for the world are produced, there are hackers hacking the new out of the old.” 1
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| Οι ομάδες των τακτικών μέσων θέλουν να έχουν μία διακριτική υλική
| | '''[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''' |
| επίδραση και όχι μία θεμελιώδη δομική διαμόρφωση, όπως επιβάλλεται από τη σύγχρονη αρχιτεκτονική. Αφήνουν
| | (r∆∆dio c∆∆rgo and Spideralex, Rencontres BANDITS-MAGES, November 2018)<br /> |
| μερικά υλικά ίχνη αλλά στο τέλος αυτό που μένει είναι μία ζωντανή ανάμνηση. Για παράδειγμα, οι ακτιβιστές
| | 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. |
| κυβερνοπειρατές με τη δράση floodnet (λογισμικό που υπερφορτώνει έναν διακομιστή με επισκέψεις χρηστών
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| με αποτέλεσμα να μπλοκάρει) αφήνουν υλικά ίχνη της δράσης τους σε server logs (φάκελοι διακομιστών που
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| καταγράφουν τι γίνεται στην εκτέλεση ενός συστήματος).
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| === Thesis ===
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| [[User:Angeliki/Grad-thesis|Thesis outline]]<br />
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| 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.
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| Example of "blurry" writing:<br />
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| "No_vowels poem"
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| {{:Angeliki/Prototyping_2}}
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| [[File:Walking the text.jpg|500px|walking_the_text]]
| | === Projects === |
| [[File:Radio speech-coordinates lines.JPG|500px|radio speech-coordinate lines]]
| | '''http://joy.nujus.net/w/index.php?page=NMSAT.en''' |
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| https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQuHs6xJWF5yEz3vcgM1RcS2mSYI71sI35NmIzSK20fNV29mx-D
| | ''' http://laps.artoffailure.org/isl.html''' |
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| <span style="color:red">Some formats: interviews</span>
| | ''' https://www.vpro.nl/programmas/tegenlicht/kijk/afleveringen/2018-2019/mijn-stad-is-mijn-hart.html''' |
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| === Questions ===
| | '''https://soundcloud.com/ain_bailey/furtive-furtive-suspicious''' |
| * How is the media sphere related to public spaces? How they do construct the space?
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| * How the voice occupy public space (either physical or digital or...)? Relation to speech acts.
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| * What that reveals for the space (either physical or digital) and our surroundings?
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| * How the commons are related to that and how can be influenced by that?
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| * How the tools provide another perspective and way of research or communicating?
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| * How walking and including the presence of our body into this media occupied public space reveals hidden meanings and perspectives?
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| * 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?
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| * <s>Is it object, is it an endless process, is it an action?</s>
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| Steve's questions:
| | '''http://dewidevree.org/magnetoceptia-2/''' |
| * 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...
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| * What possibilities are open to you? ...tools, places/networks I would interact with, workshops of writing...
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| (make a list of whys, questions, silly or not, eternal, going closer to the core)
| | '''https://somafm.com/sf1033/songhistory.html''' |
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| '''Mood''' | | '''https://www.facebook.com/events/1490432824557428/''' |
| <s>Being practical/mechanical/physical and at the same time conceptual/intuitive
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| :::::::::-----the core and the surroundings-----
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| Being an insect having or creating antennas. Being in place and being absent. Being expert to my tools and mechanisms.
| | '''http://p-node.org/doc/index.php/Main_Page''' |
| The non-art
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| Hack the media surrounding us, use them as artistic tools (antennas, locative/in-situ? installation in between spaces, digital, physical, cultural)
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| layers of sharing</s>
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| === [[User:Angeliki/Grad-Abstracts & Synopsis|Abstracts & Synopsis]] ===
| | '''http://www.aftersound.co.uk/''' |
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| === Interviews ===
| | '''http://www.tadeosendon.com/temporary-local-broadcast/''' |
| ==== Reni Hofmüller ====
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| -What is your relation with antennas and radio? why are you interested in them?<br />
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| -How did you gain this knowledge? <br />
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| -Did your gender affected your involvement to radio technologies and culture and your first choice?<br />
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| -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 />
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| -How the speech and voice was part of your pirate radio attempts?<br />
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| -Describe me your how it was to do such projects in public space.
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| -What references would you propose?<br /> | |
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| <div style="color:red;">
| | '''[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. |
| ==== Julie Boschat Thorez ====
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| - What were the main difficulties of documenting a work like the UBERMORGEN's work?<br />
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| - What forms of presentation did you use?<br />
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| - How did you mix them in one publication? Or maybe it was a multiple publication existing in different forms and places?<br />
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| - What was the best way to document it/archive it/publish it according to you? | |
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| </div>
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| === References ===
| | '''[http://www.readysubjects.org/projects/publicsquare/publicsquare_html/html_home.html The public square]''' |
| [[Sample_librariesLink|Libraries to look at]] | | 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. |
| * Auge, M., 2009. Non-Places: An Introduction to Supermodernity, 2 edition. ed. Verso, London ; New York.
| |
| * Augoyard, J.-F., Torgue, H., 2006. Sonic Experience: A Guide to Everyday Sounds. McGill-Queen’s University Press, Montreal ; Ithaca.
| |
| * Bangma, A., 2011. Resonant Bodies, Voices, Memories. Revolver, Berlin.
| |
| * Bassett, C., n.d. ‘How Many Movements?’ [WWW Document]. Online Open. URL https://www.onlineopen.org/how-many-movements (accessed 8.18.18).
| |
| * Brooking, P.W.S. and E.T., n.d. The Machines That Will Fight the Social Media Wars of Tomorrow [WWW Document]. Gizmodo. URL https://gizmodo.com/the-machines-that-will-fight-the-social-media-wars-of-t-1829445747 (accessed 10.10.18).
| |
| * Calle, S., Baudrillard, J., 1988. Suite Venitienne/Please Follow Me. Bay Pr, Seattle.
| |
| * Chantal Mouffe, n.d. Deliberative Democracy or Agonistic Pluralism.
| |
| * Dolar, M., 2006. A Voice and Nothing More. The MIT Press, Cambridge, Mass.
| |
| * Drucker, J., 2013. Diagrammatic Writing. New Formations 78, 83–101. https://doi.org/10.3898/nEWF.78.04.2013
| |
| * Dunbar-Hester, C., 2014. Low Power to the People: Pirates, Protest, and Politics in FM Radio Activism. The MIT Press, Cambridge, Massachusetts.
| |
| * Federici, S.B., 2014. Caliban and the witch, 2., rev. ed. ed. Autonomedia, New York, NY.
| |
| * Feminist Art of Failure, Ewa Partum and the Weak Avant-Garde | Majewska | Widok. Teorie i praktyki kultury wizualnej [WWW Document], n.d. URL http://pismowidok.org/index.php/one/article/view/370/918 (accessed 8.26.18).
| |
| * Galloway, A.R., 2004. Protocol: How Control Exists after Decentralization. MIT Press, Cambridge, Mass.
| |
| * Gilbert Simondon, 2012. ON TECHNO-AESTHETICS. PARRHESIA 14, 1–8.
| |
| * Habsburg, F. von, Cardiff, J., 2006. Janet Cardiff: The Walk Book, Har/Com edition. ed. Cornerhouse Publications, Köln.
| |
| * Hand, B., 1999. Public Art Indoors: Sound and Art in Public Spaces. Circa 42–43. https://doi.org/10.2307/25563399
| |
| * Harold, B., n.d. A Map of Misreading.
| |
| * Jones, R., n.d. Experts Worry as Germany Tests Voice Recognition Software to Screen Refugees [WWW Document]. Gizmodo. URL https://gizmodo.com/experts-worry-as-germany-tests-voice-recognition-softwa-1793424680 (accessed 10.10.18).
| |
| * Joseph-Hunter, G., 2009. Transmission Arts: The Air That Surrounds Us. PAJ: A Journal of Performance and Art 31, 34–40.
| |
| * Kahn, D., 2013. Long Sounds and Transperception, in: Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts. University of California Press, Berkeley.
| |
| * Kahn, D., Whitehead, G. (Eds.), 1994. Wireless Imagination: Sound, Radio, and the Avant-Garde, First Paperback Edition edition. ed. The MIT Press, Cambridge, Mass.
| |
| * Kamal, S., 2007. Development On-Air: Women’s Radio Production in Afghanistan. Gender and Development 15, 399–411.
| |
| * Kanouse, S., 2011. Take It to the Air: Radio as Public Art. Art Journal 70, 86–99.
| |
| * Kanouse, S., 2007. Tactical Irrelevance: Art and Politics at Play. Democratic Communiqué 21, 23.
| |
| * Kogawa, T., 2008. Radio in the Chiasme, in: Elisabeth Zimmermann, Heidi Grundmann, Reinhard Braun, Dieter Daniels, Andreas Hirsch, Anne Thurmann-Jajes (Eds.), Re-Inventing Radio. Aspects of Radio as Art. Revolver, Frankfurt am Main, pp. 407–409.
| |
| * Kwon, M., 2004. One Place after Another: Site-Specific Art and Locational Identity, 1st edition. ed. The MIT Press, Cambridge, Mass.
| |
| * Latour, B., Weibel, P. (Eds.), 2005. Making Things Public: Atmospheres of Democracy, First edition. ed. The MIT Press, Cambridge, Mass. : Karlsruhe, Germany.
| |
| * Manovich, L., 2006. The Poetics of Augmented Space. Visual Communication - VIS COMMUN 5, 219–240. https://doi.org/10.1177/1470357206065527
| |
| * Max, N., n.d. The BROADCAST WORKS and AUDIUM.
| |
| * McGinley, P., Cardiff, J., Miller, G.B., 2006. Eavesdropping, Surveillance, and Sound. Janet Cardiff and George Bures Miller “Cabin Fever.” PAJ: A Journal of Performance and Art 28, 52–57.
| |
| * Mills, C., n.d. How Google’s Leaner AI Could Move Speech Recognition Offline [WWW Document]. Gizmodo. URL https://gizmodo.com/googles-smart-ai-could-move-speech-recognition-offline-1764703382 (accessed 10.10.18).
| |
| * Milutis, J., 2006. Ether: The Nothing That Connects Everything, 1 edition. ed. Univ Of Minnesota Press, Minneapolis.
| |
| * Naughton, T., 1996. Community Radio: A Voice for the Voiceless. Agenda: Empowering Women for Gender Equity 12–18. https://doi.org/10.2307/4066258
| |
| * Nield, D., n.d. How Location Tracking Actually Works on Your Smartphone [WWW Document]. Gizmodo. URL https://gizmodo.com/how-location-tracking-actually-works-on-your-smartphone-1828356441 (accessed 10.10.18).
| |
| * Noy, I., 2017. Emergency Noises: Sound Art and Gender, New edition edition. ed. Peter Lang AG, Internationaler Verlag der Wissenschaften, New York.
| |
| * Nüshu, 2018. . Wikipedia.
| |
| * Nushu [WWW Document], n.d. URL http://nushu.world.coocan.jp/home.htm (accessed 10.10.18).
| |
| * O`rourke, K., 2013. Walking and Mapping: Artists as Cartographers. MIT Press, Cambridge, Massachusetts.
| |
| * Oliver Marchart, 2011. Art, Space and the Public Sphere(s). archive public.
| |
| * Ong, W.J., 2002. Orality and Literacy, 2 edition. ed. Routledge, London.
| |
| * Ouzounian, G., 2008. Sound art and spatial practices : situating sound installation art since 1958. UC San Diego.
| |
| * Ouzounian, G., n.d. Visualizing Acoustic Space: The Story of Poème électronique. Revue Circuit.
| |
| * Pauline Oliveros, 2011. Sonic Meditations, in: AUSTIN, L., KAHN, D., Gurusinghe, N. (Eds.), Source: Music of the Avant-Garde, 1966–1973. University of California Press, pp. 342–346.
| |
| * Ronell, A., 1991. [The Telephone Book: Technology - Schizophrenia - Electric Speech]. University of Nebraska Press.
| |
| * Sassen, S., 2012. The Shifting Meaning of the Urban Condition, in: Panos Kouros, Elpida Karaba (Eds.), Archive Public. Performing Archives in Public Art, Topical Interpositions. Cube Art Editions, pp. 185–199.
| |
| * Schesser, S.D., 2006. A New Domain for Public Speech: Opening Public Spaces Online. California Law Review 94, 1791–1825. https://doi.org/10.2307/20439081
| |
| * Schraffenberger, H., Heide, E. van der, 2014. Everything Augmented: On the Real in Augmented Reality. Journal of Science and Technology of the Arts 6, 17–29.
| |
| * Scott Ruston, 2014. Location- Based Narrative, in: Ryan, M.-L., Emerson, L., Robertson, B.J. (Eds.), The Johns Hopkins Guide to Digital Media. Johns Hopkins University Press, Baltimore, pp. 127–129.
| |
| * Self-* properties through gossiping, n.d.
| |
| * Slouka, M., 1999. Listening for silence. Harper’s Magazine.
| |
| * Smith, N., 2005. The Politics of Public Space, 1 edition. ed. Routledge, New York.
| |
| * Strauss, N., Mandl, D. (Eds.), 1994. Radio Text(e). Semiotext, New York, NY, USA.
| |
| * TCM Locative Reader, n.d.
| |
| * TCM Locative Reader [WWW Document], 2006. URL https://web.archive.org/web/20060422010833/http://www.locative.net/tcmreader/index.php?endo;lovink-x (accessed 10.10.18).
| |
| * Tetsuo, K., n.d. Minima Memoranda: a note on streaming media.
| |
| * Tonkiss, F., 2003. Aural postcards: sound, memory and the city, in: Bull, M., Back, L. (Eds.), The Auditory Culture Reader. Berg Publishers, Oxford, pp. 303–310.
| |
| * Tucker, 2017. Organize Your Own Temporality by Rasheedah Phillips. Organize Your Own.
| |
| * Turkle, S., 2016. Reclaiming Conversation: The Power of Talk in a Digital Age, Reprint edition. ed. Penguin Books, New York.
| |
| * U B U W E B :: Radio Radio [WWW Document], n.d. URL http://www.ubu.com/sound/radio_radio/ (accessed 9.17.18).
| |
| * van der Heide, E., 2013. Radioscape: Into Electromagnetic Space. Leonardo Music Journal 23, 15–16. https://doi.org/10.1162/LMJ_a_00143
| |
| * Weiss, A.S., 1995. Phantasmic Radio. Duke University Press Books, Durham, N.C.
| |
| * Wendy, C., n.d. Control and freedom.
| |
| * Williams, G., 1998. The Voice of Author/ity. PAJ: A Journal of Performance and Art 20, 62–67. https://doi.org/10.2307/3245931
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|
| ==== Projects ====
| |
| "[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. | | "[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 /> | | The well was placed in several public places around the town of Groningen.<br /> |
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| '''Galloway, A.R., 2004. Protocol: How Control Exists after Decentralization. MIT Press, Cambridge, Mass.''' | | '''Galloway, A.R., 2004. Protocol: How Control Exists after Decentralization. MIT Press, Cambridge, Mass.''' |
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| ==== Workshops ====
| |
| '''[https://radicalnetworks.org/participants/christopher-csikszentmihalyi/ RootIO: Community Radio as a Service]''' ([http://rootio.org RootIO Radio], Radical Networks, October 2018 )<br />
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| This workshop introduces participants to the RootIO platform, and takes them through the steps of creating a station.
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|
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| '''[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 />
| |
| 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.
| |
"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.
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.
