Composing Paradoxes | Feminist Process in Sound Arts and Experimental Musics
Feminist Frequencies addresses the question of how socio-political differences and lived experiences of gender, sexuality, race and ethnicity may be perceived to manifest in the…
Feminist theory at the end of the twentieth century gained a more critical self-reflexivity through the emergence of gender studies. This enabled Western feminist theorists…
I began this research project, now populating posts on Feminist Frequencies, with a focus upon the Her Noise Archive. Firstly, because I knew about this…
Sound studies, as Trevor Pinch and Karin Bijsterveld wrote in 2004, “is an emerging interdisciplinary area that studies the material production and consumption of music,…
Feminist sound studies scholar Tara Rodgers expands upon Jonathan Sterne’s critical analysis of the original/copy dialectic embedded within sound reproduction technologies as those that have…
Excluded as she was from political intelligibility within historical continental discourses of individuality (Scott 1996), “woman” throughout Anglo-American histories of sound and music has similarly…
Hegemonic discourses and power relations which sought to write women as a category out of musical history have been met with numerous attempts by feminist…
Through what Ellen Koskoff identifies as a ‘second-wave’ of feminist musicology and ethnomusicology, is scholarship that has sought to question productions of gender through productions…
Whilst Tara Rodgers’ and Jonathan Sterne’s work in particular seeks to historicise sound reproduction technologies and audio-technical discourses by charting their shifting histories, the question…
At the fourteenth international New Interfaces for Musical Expression (NIME) conference of 2014, Georgina Born organised and chaired a panel/workshop titled Gender, Education, Creativity in…
The displacement and transformation of orthodox beliefs is a major strategy within much post-structural theory, within feminism and queer theory as much as within post-colonial…
Ellen Koskoff’s reflection upon the main ‘phases’ of feminist musicology as ‘woman-centric’ and ‘gender-centric’, provides a useful paradigm through which to think about the two…
In a way that speaks to Georgina Born’s assertion that an “analytics of mediation…encompasses and addresses conceptually the kinds of difference and antagonism that routinely…
Turning to the recent disdain within some narrations of queer feminism for interpretation and paranoid critique in favour of a ‘newer’ reparative turn, Robyn Wiegman…
Speech acts, forms of writing, modes of public expression, all become crucial to revolutionary action and to understanding and fomenting social change. It wasn’t just…
There is a claim, it can be proffered, within in Cathy Lane’s Hidden Lives (1999), that certain kinds of speech can be heard as illocutionary…
Rae Langton, in “Speech Acts and Unspeakable Acts”, addresses three types of speech acts that silence. Firstly there is the failure to perform the locutionary act…
Cathy Lane’s Hidden Lives (1999) sounds out a protest about the specifically gendered performances – or speech acts – that The Book of Hints and Wrinkles…
Following the theme of covering and uncovering hidden lives and hertories is artist and writer Emma Hedditch’s installation We’re Alive, Let’s Meet! (2005). Hedditch’s installation…
Anthropologist and musician Georgina Born suggests an alternative term to Alejandro Madrid’s ‘performance complex’, what she instead calls a “musical assemblage” (Born 2010: 88). For…
Instead of requiring a traditional analysis of musical structure, We’re Alive, Let’s Meet! calls for an analysis of musical relationships between sociopolitical bodies, rather than between…
I mean to kind of look at why so few women are written about, how that’s recorded and how that all feeds in to a…
Emma Hedditch’s installation We’re Alive, Let’s Meet! (2005), consisting of a series of ‘get-togethers’, queers hegemonic disciplines of psychoanalysis and pedagogy through a subversive appropriation…
The two works addressed in this chapter, Cathy Lane’s Hidden Lives (1999) and Emma Hedditch’s We’re Alive, Let’s Meet! (2005) provide complimentary movements for an appreciation of the…
The different processes in the works that have been considered in the previous chapters, as spaces of historical amnesia, have been interpreted as expressing feminist…
Those who order the world, who are world-making master time – those animals and humans who are perceived as having no world-making effects – merely…
Rethinking, re-visiting and reworking history appears as a major concern in Sonia Boyce’s oeuvre spanning almost forty years, as a critique of historical narratives inherent…
I read a particular performativity as being specific to Sonia Boyce’s Devotional Series, deciphered through elements of Houston A. Baker’s transformation of form and process…
Whilst this analysis so far has sought to address the oscillations of the Devotional Wallpaper through theories and philosophies of modernist art and music, I…
