.............................................. GIRLSOUND ............................................... 'Though there is a burgeoning interest emerging in sounding artworks, ? ?there is little discourse about this genre that has come from an analysis of the artworks themselves.? Bandt Sound Sculpture (13)
'So Paula, I ask you this ? where are the women in [sounding] digital media'? 'The inattention to aural experience in the construction of human subjectivity is undoubtedly coincidental with a general emphasis in critical debates on visual representation, an emphasis which is attributed to the priority given to vision in a Western culture dominated by patriarchal principles ... A similar depreciation of the female voice and a usurpation of its creative potential is to be found in contemporary media representations.' Jean Fisher- Reflections On Echo?Sound By Women Artists In Britain Hi, as a sound artist/researcher, I am hearing the need for an umbrella organization for women working in the sound arts that will address some of the ghettoizing, fracturing and silence around women working in sound. Decided it was time to do something about it, I have put together this site Girrlsound http://girrlsound.blogspot.com/, with its online forum. But Girrlsound needs your input .. how should it be shaped, what areas does it need to cover? What are the gaps you see in the genre ... industry? (ROUGH PROPOSAL/OUTLINE FOR GIRRLSOUND) What is Girrlsound :: Girrlsound is an ?about to be released? organization promoting and representing contemporary women in sound and their work/thinking/research, with an online web interface/presence, containing a forum discussion group Girrlsound is a resource space for women sound artists, of others artist?s works, sound theory, tools and opportunities for exhibitions and collaborations Girrlsound is an organization for arranging and presenting projects and sound works Girrlsound is a distribution site for innovative women?s sound works Girrlsound presents local and web-based workshops in sound technology and creativity, and professional practice ? Vision
:: We believe that new things are being said in culture with digital media especially sound based media. This development through creative and critical engagement with contemporary art media and practices enables and inspires people to become active co-creators of their contemporarily culture and societies. This co-creativity must include women. Women are saying things with sound, creating new digital languages and technologies for articulation. Girrlsound makes that sound heard. Mission :: Girrlsound is a co-creative space that appreciates, acknowledges and promoters women?s unique contribution to the field of sound art Girrlsound presents women?s sound work for discussion Girrlsound facilitates dialogue and discussion through online forums Girrlsound provides distribution and publication opportunities for women Girrlsound offers and links new sound collaborative relationships Our areas of activity can be categorized as :: ? All things Sound ? Gender & Sound Arts Practice ? Girrlsound Sound Theory ? Sound & Context ? Sound & Language/Image/Voice/Word/Text ? Sound at the margins ? Low tech and high tech ? Scoring/Improvisation/Composition/Performance ? Reviewing/Curating & Archiving ? Listening Practice ? distribution ? Sound projects Terms :: Sound art :: creative use of non-musical sound, often by artists who are not ?musicians?, installations, environmental sound, radio art, sound sculpture, etc. Hybrid :: experimental use of concepts or instruments from other cultures; Text :: focus on spoken language, often emphasizing sound over meaning. Sonic :: of or relating to audible sound. Sonic art :: sound/art of or relating to art/sound Sound art :: sound/art of or relating to art/sound Cochlea?d sound :: audible sound Non-cochlea?d sound :: non-audible sound Sound art = Sonic art This is what I have put together for discussion ... Girrlsound has a web-based frame to offer a forum for reflection, discussion etc, upload space for promoting and presenting women?s sound works, articles, publishing and reviews, resources, links etc. In the near future Girrlsound plans to offer podcasts. Key to the aims of Girrlsound is the offering of public and online workshops for the technical and creative development of women working in sound. Further extensions, as in stage 2, will be a real space exhibition/performing program ? the inclusion of a ?women in digital media arm?, and the setting up of a public outreach program hub using collaboration and participatory co-creation processes in digital technologies to articulate difference and inclusiveness in lives and cultures. I am in conversation with British and American sound artists who wish to be involved. It is my intension to apply for funding and in kind support and partnerships from various sources. I?m distributing questionnaires re the needs of woman in sound on relevant list serves and presenting the project to as many woman and sound orgs as possible, so I can to gage interest and feedback. I am speaking to leaders in the field in Australia as well as international artists. I foresee that Girrlsound flourishes with collaborative partnerships. Girrlsound plans to begin doing interviews and reviews of sound artists work during the coming six months. Girrlsound will launch herself officially at a Sound based symposium offered through the Block at Queensland University of Technology, (QUT) Brisbane, in June 2012. It is expected that these symposiums will be held bi-annually and engage with international sound artists/organizations providing, critical engagement, discussion, linkages, projects, shows etc The 2012 Girrlsound Symposium will be a one or two day program, with a series of panels, and two or three guest speakers. The Girrlsound Symposium will address important areas for woman in the sonic arts. It is planned that there would be launched with this event, a series of new sound projects for woman at that time, tied in with discussion of future plans i.e. publications (text and sonic) and performance exhibition possibilities ? possible themes could be ? Do girrls sound different? Loop- fade- dissolve: common notions that strangle sound art. What is sound art by women, sounding out? What is so shocking about sound art anyway? How can sound art effect political change(s)? The ethical frame speaks up? Underground, DIY, Circuit bending Girrlsound Remix play ? Performance ? presentations ?. I am looking for interest, and support for this idea, I would really appreciate your feedback, contribution and comments ? I would like two other authors, besides myself, to work on web reviews, articles etc. I am seeking people for these positions at present. I am also looking for speakers and ideas for the symposium. So what do you think, would you like to be involved? Contribute? Write a review? Cheers (in sound) Majena Mafe Girrlsound http://girrlsound.blogspot.com/ [email protected] ................................................................................................................................................................. >-- Original Message -- >From: [email protected] >Subject: NetBehaviour Digest, Vol 980, Issue 1 >To: [email protected] >Reply-To: [email protected] >Date: Mon, 11 Jul 2011 12:00:01 +0100 > > >Send NetBehaviour mailing list submissions to > [email protected] > >To subscribe or unsubscribe via the World Wide Web, visit > http://www.netbehaviour.org/mailman/listinfo/netbehaviour >or, via email, send a message with subject or body 'help' to > [email protected] > >You can reach the person managing the list at > [email protected] > >When replying, please edit your Subject line so it is more specific >than "Re: Contents of NetBehaviour digest..." > > >Today's Topics: > > 1. a must see, Chomsky versus Foucault (Ana Vald?s) > 2. Re: NetBehaviour Digest, Aftung Derisive (Richard Wright) > 3. Unifying the Value Universe. (marc garrett) > 4. RUPERT MURDOCH - A PORTRAIT OF SATAN. (marc garrett) > 5. Re: NetBehaviour Digest, Aftung Derisive (Mark Hancock) > 6. Hence and full transcript (Alan Sondheim) > 7. The Davos Parallax (a fable inspired by Stanislaw Lem). (info) > 8. New volume of n.paradoxa: international feminist art journal > (info) > > >---------------------------------------------------------------------- > >Message: 1 >Date: Sun, 10 Jul 2011 13:11:49 +0200 >From: Ana Vald?s <[email protected]> >Subject: [NetBehaviour] a must see, Chomsky versus Foucault >To: NetBehaviour for networked distributed creativity > <[email protected]> >Message-ID: > <cafbyie+q5rbmjsb9mdwk6v2sdjzpkuf-ejumxw1g9t-k3og...@mail.gmail.com> >Content-Type: text/plain; charset="windows-1252" > >A young Noam Chomsky discussing with Michel Foucault > >http://t.co/6fLGmNA > > >Ana > >-- >http://anavaldes.wordpress.com >http://passagenwerk.wordpress.com >http://caravia.stumbleupon.com >http://www.crusading.se >Gondolgatan 2 l tr >12832 Skarpn?ck >Sweden >tel +468-943288 >mobil 4670-3213370 > > >"When once you have tasted flight, you will forever walk the earth with your >eyes turned skyward, for there you have been and there you will always long >to return. >? Leonardo da Vinci >-------------- next part -------------- >An HTML attachment was scrubbed... >URL: >http://www.netbehaviour.org/pipermail/netbehaviour/attachments/20110710/55aaa76e/attachment.html > > >------------------------------ > >Message: 2 >Date: Sun, 10 Jul 2011 14:27:16 +0100 >From: Richard Wright <[email protected]> >Subject: Re: [NetBehaviour] NetBehaviour Digest, Aftung Derisive >To: [email protected] >Message-ID: <[email protected]> >Content-Type: text/plain; charset="iso-8859-1" > >I'd say that a non-narrative film does not necessarily imply a work >of art (consider many pop promos). It could be an "experimental >film", which although I would argue is art, some would argue is not >specifically contemporary art (mainly because of the "anti-craft" >attitude that currently dominates the art world, mistakenly in my >opinion). Inversely, it could be Media Art, which is often seen as >part of contemporary art, but not part of film making. Or it could be >avant garde film, although for many people this is a historical form >that had ended by WWII. (Incidentally, a disharmony between image and >soundtrack was something promoted by Adorno and Eisler during the >1930s, to "shatter the established standards of middle-class art". >Needles to say it didn't succeed, and probably contributed to the >current confusion). > >I do hope this helps, > >Richard > >> >> From: Mark Hancock <[email protected]> >> Date: 9 July 2011 14:50:09 BDT >> To: NetBehaviour for networked distributed creativity >> <[email protected]> >> Subject: [NetBehaviour] Aftung Derisive >> Reply-To: NetBehaviour for networked distributed creativity >> <[email protected]> >> >> >> Hi All, >> >> I've finished editing a short video piece that I've been working on >> and off with for a few months. It doesn't have a narrative so I >> guess it's an art movie or something? >> >> The soundtrack is an exploration of glitchy ticks and beats that >> constantly tries to work in time with the edits but ends up >> opposing it. Too often we're lead into the rhythm of a film by the >> music. I often wonder if this is a coping mechanism for 'bad' >> editing rhythms? Anyway, this doesn't try to marry the two so I >> guess creates a disharmony of sorts. >> >> Enjoy, or as Warhol said to one of his brothers, when he threatened >> to come watch one his his movies (i'm wildly paraphrasing here): >> Instead of watching this, save your money and bang your head on a >> wall for five minutes. >> >> http://youtu.be/ik4YdCOt-HM >> >> "Filmed during the winter of 2009 at Hillfields Farm Coventry. It >> felt, walking out into the snow, as though everything had been >> reduced to a homogenous mass, inverted shadows laid across the >> landscape. The editing style explores the idea of cutting up the >> frames and replaying/rearranging the sequences and finding a rhythm >> at odds with the soundtrack. This dislocation of temporality and >> the quick cut frames reflect the eye's random tracking movements, >> searching for anything to land on within the mass of white. >> >> The title, Aftung Derisive, menas nothing at all. I just liked to >> sound of it and I'd been listening to a lot of German electronica >> when I created the soundtrack." >> >> http://youtu.be/ik4YdCOt-HM >> >> >> >> _______________________________________________ >> NetBehaviour mailing list >> [email protected] >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour > >-------------- next part -------------- >An HTML attachment was scrubbed... >URL: >http://www.netbehaviour.org/pipermail/netbehaviour/attachments/20110710/e3e4e42c/attachment-0001.htm > > >------------------------------ > >Message: 3 >Date: Sun, 10 Jul 2011 15:53:46 +0100 >From: marc garrett <[email protected]> >Subject: [NetBehaviour] Unifying the Value Universe. >To: NetBehaviour for networked distributed creativity > <[email protected]> >Message-ID: <[email protected]> >Content-Type: text/plain; charset=windows-1252; format=flowed > >Unifying the Value Universe. > >Strap in?this is a long one, and well worth it. The common theme across >a majority of posts on this blog has been an attempt to understand the >influence of technology on economic behavior. Mainstream media generally > >accepts the current commonplace institutions as fundamental features of >?the economy?. Readers of this blog, and others with an eye on >innovation, recognize that digital platforms are empowering alternative >forms of economic behavior at scales never before possible. Digital >currencies, reputation metrics, social capital scores, and collaborative > >consumption platforms are proliferating at a rapid pace. > >http://onthespiral.com/unifying-value-universe > > >------------------------------ > >Message: 4 >Date: Sun, 10 Jul 2011 16:59:01 +0100 >From: marc garrett <[email protected]> >Subject: [NetBehaviour] RUPERT MURDOCH - A PORTRAIT OF SATAN. >To: NetBehaviour for networked distributed creativity > <[email protected]> >Message-ID: <[email protected]> >Content-Type: text/plain; charset=ISO-8859-1; format=flowed > >RUPERT MURDOCH - A PORTRAIT OF SATAN. > >Adam Curtis - 30 January 2011. > > >Rupert Murdoch doesn't like the BBC > >And sometimes the BBC doesn't seem to like Rupert Murdoch either. > >Following the principle that you should know your enemy, the BBC has >assiduously recorded the relentless rise of Rupert Murdoch and his >assault on the old "decadent" elites of Britain. > >And I thought it would be interesting to put up some of the high points. > >It is also a good way to examine how far his populist rhetoric is >genuine, and how far its is a smokescreen to disguise the interests of >another elite. > >http://www.bbc.co.uk/blogs/adamcurtis/2011/01/rupert_murdoch_-_a_portrait_of.html > > > > >------------------------------ > >Message: 5 >Date: Sun, 10 Jul 2011 20:28:25 +0100 >From: Mark Hancock <[email protected]> >Subject: Re: [NetBehaviour] NetBehaviour Digest, Aftung Derisive >To: NetBehaviour for networked distributed creativity > <[email protected]> >Message-ID: > <CAPBEg=t+mEYFj7a=aVLE9kgkvg3DnwMgsjCGsgqM3=pdd8a...@mail.gmail.com> >Content-Type: text/plain; charset="iso-8859-1" > >Hi Richard, > >Thank you, that's a really interesting summation and brief analysis of >non-narrative work, I'm not really familiar with a lot of pre-WWII >avant-garde work and find myself still interested in a lot of structuralist >works particularly Michael Snow, as I explored his work during my MA and >related projects. I'm going to have to dive back into my reading! > >My comment was really an ironic, slightly playful phrasing, as I'm not an >artist and don't really think any of my work has much cultural/critical >value. It was meant in a self-deprecating way to play with how mainstream >cinema concepts of arthouse/gallery film etc is often differentiated as. >My >apologies if my tone didn't come across. > >Cheers though > >M > >On 10 July 2011 14:27, Richard Wright <[email protected]>wrote: > >> I'd say that a non-narrative film does not necessarily imply a work of >art >> (consider many pop promos). It could be an "experimental film", which >> although I would argue is art, some would argue is not specifically >> contemporary art (mainly because of the "anti-craft" attitude that currently >> dominates the art world, mistakenly in my opinion). Inversely, it could >be >> Media Art, which is often seen as part of contemporary art, but not part >of >> film making. Or it could be avant garde film, although for many people >this >> is a historical form that had ended by WWII. (Incidentally, a disharmony >> between image and soundtrack was something promoted by Adorno and Eisler >> during the 1930s, to "shatter the established standards of middle-class >> art". Needles to say it didn't succeed, and probably contributed to the >> current confusion). >> >> I do hope this helps, >> >> Richard >> >> >> *From: *Mark Hancock <[email protected]> >> *Date: *9 July 2011 14:50:09 BDT >> *To: *NetBehaviour for networked distributed creativity < >> [email protected]> >> *Subject: **[NetBehaviour] Aftung Derisive* >> *Reply-To: *NetBehaviour for networked distributed creativity < >> [email protected]> >> >> >> Hi All, >> >> I've finished editing a short video piece that I've been working on and >off >> with for a few months. It doesn't have a narrative so I guess it's an *art >> movie* or something? >> >> The soundtrack is an exploration of glitchy ticks and beats that constantly >> tries to work in time with the edits but ends up opposing it. Too often >> we're lead into the rhythm of a film by the music. I often wonder if this >is >> a coping mechanism for 'bad' editing rhythms? Anyway, this doesn't try >to >> marry the two so I guess creates a disharmony of sorts. >> >> Enjoy, or as Warhol said to one of his brothers, when he threatened to >come >> watch one his his movies (i'm wildly paraphrasing here): Instead of watching >> this, save your money and bang your head on a wall for five minutes. >> >> http://youtu.be/ik4YdCOt-HM >> >> "Filmed during the winter of 2009 at Hillfields Farm Coventry. It felt, >> walking out into the snow, as though everything had been reduced to a >> homogenous mass, inverted shadows laid across the landscape. The editing >> style explores the idea of cutting up the frames and replaying/rearranging >> the sequences and finding a rhythm at odds with the soundtrack. This >> dislocation of temporality and the quick cut frames reflect the eye's random >> tracking movements, searching for anything to land on within the mass of >> white. >> >> The title, Aftung Derisive, menas nothing at all. I just liked to sound >of >> it and I'd been listening to a lot of German electronica when I created >the >> soundtrack." >> >> http://youtu.be/ik4YdCOt-HM >> ** >> * >> * >> >> _______________________________________________ >> NetBehaviour mailing list >> [email protected] >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> >> >> _______________________________________________ >> NetBehaviour mailing list >> [email protected] >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >-------------- next part -------------- >An HTML attachment was scrubbed... >URL: >http://www.netbehaviour.org/pipermail/netbehaviour/attachments/20110710/1ccdc21c/attachment-0001.htm > > >------------------------------ > >Message: 6 >Date: Mon, 11 Jul 2011 00:20:10 -0400 (EDT) >From: Alan Sondheim <[email protected]> >Subject: [NetBehaviour] Hence and full transcript >To: [email protected] >Message-ID: <[email protected]> >Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed > > > >Hence > >http://www.alansondheim.org/hence.mp4 > >Ody performance 2011, full transcription - > >full text with comments online: > >http://odysseysimulator.blogspot.com/2011/07/thursday-bloody-thursday.html > >Thanks, Alan > > > >------------------------------ > >Message: 7 >Date: Mon, 11 Jul 2011 10:59:05 +0100 >From: info <[email protected]> >Subject: [NetBehaviour] The Davos Parallax (a fable inspired by > Stanislaw Lem). >To: NetBehaviour for networked distributed creativity > <[email protected]> >Message-ID: <[email protected]> >Content-Type: text/plain; charset=ISO-8859-1; format=flowed > >The Davos Parallax (a fable inspired by Stanislaw Lem). > >By Richard Barbrook. > >A sci-fi story which mashes up The Class of the New with Lem's Cyberiad >that Barbrook wrote for the European Culture Congress on 8th-11th >September in Wroclaw... > >http://www.culturecongress.eu/english/theme/theme_cyberiad/barbrook_davos_parallax > > > > >------------------------------ > >Message: 8 >Date: Mon, 11 Jul 2011 11:23:51 +0100 >From: info <[email protected]> >Subject: [NetBehaviour] New volume of n.paradoxa: international > feminist art journal >To: NetBehaviour for networked distributed creativity > <[email protected]> >Message-ID: <[email protected]> >Content-Type: text/plain; charset=windows-1252; format=flowed > >New volume of n.paradoxa: international feminist art journal just published. > >Volume 28 (July 2011) Biopolitics > >What is a feminist take on biopolitics? Several routes through the maze >of definitions presented by both terms ? feminism(s) and biopolitics ? >are suggested in this volume about contemporary women artists' >practices. Biology + politics? Human bodies, female bodies? Material >feminism(s) and feminist materialisms? Art approaching scientific and >political issues, art as scientific experiments? > >Contents: > >Angela Dimitrakaki 'Labour, Ethics, Sex and Capital:, On Biopolitical >Production in Contemporary Art: Andrea Fraser and Tanja Ostojic' > >subRosa 'Bodies Unlimited: A Decade of subRosa's Art Practice' > >Marcia Oliveira 'The Postmodern Paradox in Visual Arts: Aestheticism, >Politics and Contemporary Materialism: Ana Vieira' > >Jo Anna Isaak 'Memories, Rooms, Sound and Skin: An Interview with Irina >Nakhova' > >Katy Deepwell 'From Marginalia to Monalisa: an interview with Ida >Applebroog' > >Suzana Milevska 'Woman Bear Witness'- an essay on women artists whose >work addresses the persecution of Roma people. > >Monica Sjoo and Anne Berg Images on 'Womanpower? Arts Manifesto (1971) - > >a reprint of an early feminist art manifesto' > >Kim Sawchuk 'Bio-art and the feminist politics of hands-on knowledge: an > >interview with Canadian artist Tagny Duff' > >Victoria Rance 'Mary Kelly: Projects, 1973-2010' > >Kimberly Lamm 'At the Pivot of the Biopolitical: Seeing Sex and Racism >in Lorna Simpson's You're Fine' > >Artist Pages: from Silvia Ziranek 'A/MY LIFE IN (MY) WORDS' and '(WHAT?) > >FACE FATE' >Plus features on 'Women artists at the 54th Venice Biennale' >And '3 Women: Maria Pininska-Berez, Natalia LL, Ewa Partum' at Zacheta >Gallery, Warsaw > > >This volume is financially supported by the Flo Art Foundation > >The print journal is published two times a year (Jan and July) and its >content is only available in print form. n.paradoxa is the only >international feminist art journal specialising in contemporary visual >arts in the world! > >Available to order: www.ktpress.co.uk > > >------------------------------ > >_______________________________________________ >NetBehaviour mailing list >[email protected] >http://www.netbehaviour.org/mailman/listinfo/netbehaviour > >End of NetBehaviour Digest, Vol 980, Issue 1 >******************************************** _______________________________________________ NetBehaviour mailing list [email protected] http://www.netbehaviour.org/mailman/listinfo/netbehaviour
