CTM 2014 “Dis Continuity”:
“Sound, Gender, Technology? „Where to“ with Cyberfeminism?”
Febuary 1st, 2014 – Kunstquartier Studio 1 Mariannenplatz 2 10997 Berlin
Tickets 5 Euro
Saturday 1st Febuary 2014
Lectures and panel discussion: Sadie Plant (UK/CH), Susanne Kirchmayr (AT), Fender Schrade (DE), Marie Thompson (UK)
Moderation: Annie Goh (UK/DE)
Sadie Plant (UK/CH)
“Mixing music, cybernetics, and feminism.?
Some thoughts on the longstanding connections between music and cybernetics.”
Susanne Kirchmayr (AT)
„Generative transformations – Deviate from the grid“
Susanne Kirchmayr will deliver insights into her praxis of sound production and
composition. Drawing on her background in linguistics, her recent compositions have worked with human, often female voices to deal with themes of the disintegration of spoken languages, deconstruction and reorganization of meanings and [grammatical]structures. In her presentation, she will also demonstrate her research into the musical potential of concurrent sequences with divergent timings in order to go beyond the scope of ordinary rhythmic synchronizations.
Fender Schrade (DE)
„Performing Between Their Bodies And Your Ears. Stories of a Trans*gendered Live
Fender Schrade approaches live sound engineering through an artistic as well as a trans*feminist perspective. The talk will discuss the particularities of the agency of a live sound engineer and the interactions with space, bodies, technology and sound.
Marie Thompson (UK)
In this talk, Marie will explore the relationship between constructions of femininity and noise, which is understood here as an affective, transformative force, rather than simply as unwanted sound. She will suggest that “feminine” noises are often deemed negative; not because of what they mean, but as a result of the transformations they threaten to induce. Marie will raise questions around essentialism – does talking of a feminine or feminized noise require us to adopt an essentialist position, or can an alternative approach be found?
Saturday 1st February 2014
Keynote Lecture by Tara Rodgers
Kunstquartier Studio 1 Mariannenplatz 2 10997 Berlin
Sound Knowledge: Rethinking Histories and Futures of Electronic Music
How do we know what we know about the history of electronic music, and how does this knowledge frame, and sometimes limit, approaches to the creative, technical, and social possibilities of music-making in the present? What knowledge might sound itself give us to live more mindfully and create more expansively? This lecture draws upon feminist theories and archival research to explore these questions in the context of the CTM festival’s theme of „discontinuity,“ which calls for challenging and presenting alternatives to existing histories of electronic music.
Dr. Tara Rodgers (Analog Tara) is a composer, historian and critic of electronic music, based in the Washington, DC, area. She has presented work at the Tate Modern, the Museum of Contemporary Canadian Art, on the Le Tigre Remix album, and in many other forums. She is the author of numerous essays on music, technology, and culture, and of Pink Noises: Women on Electronic Music and Sound (Duke University Press, 2010), a collection of interviews that won the 2011 Pauline Alderman Book Award from the International Alliance for Women in Music. She currently serves on the editorial boards of Leonardo Music Journal and Women & Music.