* CALL FOR SUBMISSIONS *

Calling for submission of work from female Sonic Artists for a paper entitled ‘Ekho :: Toward a Repetitive Sounding of Difference’. The paper will be analysing Echo as an original sound, combining Sound Studies and Feminist theories. All works will be included in the archive alongside an artist profile.

We are particularly interested in hearing from artists working in areas of drone, deep listening, minimalism, field recording, sound spatialisation and noise – but welcome any submissions. Supporting statements are encouraged discussing the ways in which your work, or your identity as a female Sonic Artist, responds to the themes of Echo / Subversive Difference / Difference and Repetition.

Please see below or email for further details.

DEADLINE :: 23rd Oct [/Submissions before this date are appreciated]

Submissions and questions to :: ekhofemalesound@hotmail.co.uk

CTM Festival – Sound, Gender, Technology

Sound, Gender, Technology  CTM Festival 01/02/14 Berlin

‘Where to’ with Cyberfeminism? : Dis Continuity

Lectures and panel discussion: Sadie Plant, Marie Thompson, Fender Schrade, Susanne Kirchmayr, Moderation: Annie Goh

‘…Taking root from an abstract ontological level, in which binary categories of sex and gender have long been refuted (biologically as well as culturally), the panel aims to assess the interactions between sound, gender and technology from various philosophical and artistic positions. The widely discussed “cyberfeminism” borne in the early 1990s questioned the perpetuation of technology as male-dominated domain, whilst also inciting digital culture as an ideal flourishing ground for subversive strategies. Though the relationship of this purported digital utopia never largely or explicitly addressed sound, it shares dimensions in its affective power as well as non-linear, decentralized and un-hierarchical characteristics.

Approximately two decades since cyberfeminism boomed – how can we assess the cyberfeminist dream of the subversive potentialities within technology in the current status quo? How does an inquiry into the nature of sound tally to the broader aims of cyberfeminism? Does a gendered understanding of technology and sound technologies help the dismantling of the structures that form sound, gender, and technology today, or does it perpetuate these? Referring to both levels of feminist activism and feminist theory outlined above, as well as the dual tendencies within cybernetics towards order and chaos at the core of cyberfeminism – what can be identified as continuity and discontinuity in the structures of sound, gender and technology?’ CTM