* 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

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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

Sophie Germain – Plate Vibrations

‘Germain (1776-1831) was a French mathematician who studied plate vibrations. She won a prize from the French Academy of Sciences for developing a theory to explain the vibration of flat and curved plates.

Bowing Chladni Plate

Her biography in the Encyclopedia Britannica notes, ‘she worked on generalizations of her research but, isolated from the academic community on account of her gender and thus largely unaware of new developments taking place in the theory of elasticity, she made little real progress.’ (post c. Trevor Cox

Sarah Angliss

‘A composer, multi-instrumentalist, roboticist and sound historian. Sarah’s work explores her obsessions with defunct machinery, faded variety acts and European folklore.

Sarah’s music mixes her own software patches (using Max/MSP, Supercollider, PRAAT and other tools) with her samples, field recordings and live performance on theremin, saw, recorder, waterphone, keyboard,  handbells and other instruments. On stage, she’s often accompanied by musical automata – machines she’s been devising and building since 2005 as she’s been seeking a more theatrical alternative to the laptop, sampler and loop pedal.

 

About “The Bows” (SEE BELOW) Angliss says: “This is an interpretation of a London folksong which I hope captures the mood of the original, even though it’s drifted far from its moorings. The bows in the title are the bends in the River Thames but could also refer to bows of a violin. In the original folksong (titled “The Cruel Sister” or “The Bonny Bows”), a woman drowns when she’s pushed into the river by her sister. Downstream, her body is dredged out of the water and her breastbone, fingerbones and hair are used to make a fiddle. Whenever anyone tries to play this fiddle, it speaks, revealing the identity of her murderer. (The Wire)

 

Hard to pigeonhole as an engineer, musician or kinetic artist, Sarah’s actually a little of all three. In fact, she’s been combing these interests since she was a child in the 1970s, building mini cable cars across the garden and put together soundtracks, on a portable Phillips cassette recorder, about futuristic trips to the Moon. Sarah’s first degree in engineering (electroacoustics) was followed by a masters in biologically-inspired robotics (evolutionary and adaptive systems) and an Associateship in Early Music Performance from the Royal College of Music. On graduating as an engineer, Sarah had a brief spell in the building industry, where she assisted the chief acoustician in a busy London engineering company,  There, she fell for the peculiar charms of vintage electronics, when she was asked to work on an ancient, hybrid thermal-modelling computer. She later found her way to the Science Museum, London, where she was encouraged to combine her interests in the history of technology, interactive design and live performance. In 1995, Sarah opted to leave the Science Museum and work independently, focusing on performance, writing and the sonic arts. She worked solo and collaborated with other makers, most notably the sculptor and cartoonist Tim Hunkin who introduced her to PLCs and other control systems for machines.’ (Bio from Sarah’s website)

>>> http://www.sarahangliss.com/ <<<

 

Franziska Baumann

“Franziska Baumann, an internationally acclaimed vocalist, composer and sound artist is experienced in a diversity of improvised and composed music.

As a vocalist she explores the human voice as a multi-faceted instrument expanding traditional boundaries. She has developed an extensive vocabulary of experimental and extended vocal techniques such as multiphonics and glottal clicks, and a variety of unique microtonal, timbre-modifying and percussive techniques that have become her “signature sounds”. Her research interests include the voice as a medium between instrument and potentials of human feelings and human society by causing unusual ways of listening and consciousness..

Gletscherklang. Glacier Sound Space

As a composer her repertoire is diverse and includes commissions for electroacoustic and improvised projects to experimental radioworks, large-scale site-specific sound environments and installations…

As artist in residence in the STEIM “Studio for ElectroInstrumental Music”, Amsterdam, she developed an interactive SensorLab based Sensorglove. This interactive cyberglove gives her total control over her articulations and the acoustics via gestures and movement.

She is a professor for non-idiomatic improvisation-composition and vocal performance at the Berne University of Music, Switzerland.”

www.franziskabaumann.ch

De-gendering the Electronic Soundscape

An inspiring theses by Jennifer M. Brown of Southern Cross University

De-gendering the Electronic Soundscape: Women, Power and Technology in Contemporary Music.