Saturday 01.02.2014, CTM 2014 – Dis Continuity, Berlin

Lectures & panel discussion with Sadie Plant (UK/CH), Susanne Kirchmayr (AT), Fender Schrade (DE), Marie Thompson (UK. Moderation: Annie Goh (UK/DE)

Recent discourse on the subject of women and electronic music falls tendentially into two categories; either writing forgotten histories of pioneering work of women such as Daphne Oram, Elaine Radigue, Delia Derbyshire, Pauline Oliveros, Maryanne Amacher amongst many others, or with reference to the recent statistics via female:pressure, highlight the huge quantitative discrepancies between male and female musicians, DJs and producers represented at labels and music festivals worldwide. Whilst both can be considered worthwhile approaches in their own right, the former approach risks creating fetishized figures of "patchbay nuns" (Abi Bliss) and the latter finds hostile responses and risks ostracization in its own field. In both, one fundamentally important aspect remains overlooked - Judith Butler formulated this as the necessity not only to inquire how the category of “women” might become more fully represented - for example here in music -, but also crucially to understand and critique the very categories and structures of power in which these discourses operate.

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 a 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 unhierarchical characteristics. 

After 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 which 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 2014: Sound, Gender, Technology – "Where to" with Cyberfeminism?

Panel discussion called 'Hens in the Cock House' at Face The Music in Melbourne, Sat 15th November 2014.  

Organised by Paris Martine and Face The Music 
Moderator:
Jacinta Parsons
Panelists:
Antonia Sellbach
Evelyn Morris
Stuart Grant
Kirsty Rivers
Yvette Myhill 

Recorded by audience member Ruth O'Brien





Face The Music panel discussion

Livewire is the first single from Contrast's debut album

watch the video for livewire at https://youtu.be/FUobsxVd82I 

Produced by Contrast, Mixed and Engineered by Stu Mackenzie, Mastered by Joe Carra

Backing vocals -Steph Wilson



LIVEWIRE

DOUBLE DROP

"walking into a plot of land destined for demolition, you come across a strange tableaux; a radio tower stands uncertainly against a bamboo grove with various things scattered at its feet. As if someone had been and gone in a hurry. You pick up an ancient device and listen to what seems to be field recordings picked up from the surroundings. Listening to the snatches of news reports and electronic noise you realize you’re listening to a broadcast someone had made and attempted to relay through the radio tower. Looking at the various things left behind you begin to piece together a life that had seemingly been abandoned."

A piece written and scored by Shari Santos.
Sound Design by Tyson.

A Dark Tower by Shari Santos

Nitrogen Narcosis

liquidrocks

http://blowinguptheworkshop.com/project/hassanrahim

LUCID DAYDREAMS OPEN A PASSAGE BEYOND TIME.

OUT OF SERVICE ELEVATOR; COLD, DARK STAIRCASE.

FLICKERING RED LIGHTS SHIFT TO A GLOWING ULTRAVIOLET.

A ROSE BLOOMS IN TORRENTIAL DOWNPOUR; AN ONLOOKER FROM A DISTANT ROOFTOP.

DOORS AJAR.
SHE STARTS THE IGNITION.


'SONGS FOR JUNE.

A VERY PERSONAL SELECTION OF SONGS THAT HAVE GOTTEN ME THROUGH THE MOST DIFFICULT TIMES.

MIXED OCTOBER 2016.
SPECIAL THANKS TO LOVEFINGERS.'
 
∙ INGA COPELAND - BECAUSE I'M WORTH IT
∙ STEVE REICH - COME OUT
∙ KAMERA - ARCSECOND
∙ LOUIS ARMSTONG - ST. JAMES INFIRMARY
∙ THE CARETAKER - THE SUBLIME IS DISAPPOINTINGLY ELUSIVE
∙ ARTHUR RUSSELL - BEING IT
∙ FUNKADELIC - MAGGOT BRAIN
∙ ARUM - DAP03
∙ BROADCAST - UNTIL THEN
∙ PHILIP GLASS & MICHAEL RIESMAN - IN THE UPPER ROOM, DANCE I
∙ BETTINA RHEIMS - GENDER STUDIES EXCERPT
∙ A CONVERSATION WITH RICKIE LEE JONES
∙ ANENON - PETROL
∙ INTERVIEW WITH JANIS JOPLIN
∙ DEAN BLUNT- Y3
∙ ALICE COLTRANE - GOING HOME
∙ MMOTHS - NAOKO PT. 2
∙ SUICIDE - DREAM BABY DREAM
∙ HTRK - FASCINATOR (ALT MIX)
∙ MOSE ALLISON - YOUNG MAN'S BLUES
∙ MAP OF AFRICA - BONE
∙ NINA SIMONE - FREEDOM EXCERPT
 
ARTWORK BY HASSAN RAHIM.

Blowing Up The Workshop

72 ◆ Hassan Rahim

http://blowinguptheworkshop.com/project/listentothis

∙ JUN MIYAKE - GOOD MORNING YAMANASHI
∙ GIOVANNI VENOSTA - WOMAN IN LATE
∙ LENA D’ÁGUA - TAO
∙ NUNO CANAVARRO - UNTITLED 8
∙ FORREST FANG - THE LUMINOUS CROWD
∙ EINOJUHANI RAUTAVAARA - CANTUS ARCTICUS I: MELANCHOLY
∙ KURBAN - MASTO A IRAN
∙ MARIA MARQUEZ & FRANK HARRIS - CANTO DEL PILON
∙ IURY LECH - BARRERAS
∙ MARCEL PÉRÈS & ENSEMBLE ORGANUM - OFFERTOIRE "DIFFUSA EST GRATIA IN LABIIS TUIS" (COMP. MACHAUT)
∙ MASAMI TSUCHIYA - NEVER MIND
∙ PALE COCOON - SORA
∙ CONNIE FRANCIS - SIBONEY
∙ KENJI KAWAI - NIGHTSTALKER
∙ JANSEN/BARBIERI - BREAKING THE SILENCE
∙ HIROKO YAKUSHIMARU - TOMEINA CHURIPPU

ART BY NICK SPOLARICH.

liquidrocks

Erin K Taylor

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