Author Archives: Joan Schuman
Interpelled: A Conversation with Victoria Estok
“As a sound artist and environmental worker, I believe sound and voice can interrupt, influence, and ultimately intervene at key moments in ways other intervention art strategies can’t.” READ the conversation.
Interpelled: A Conversation with Victoria Estok
“As a sound artist and environmental worker, I believe sound and voice can interrupt, influence, and ultimately intervene at key moments in ways other intervention art strategies can’t.” READ the conversation.
Radiation Day: In Conversation with Anna Friz
The northern Chilean desert summoned transmission artist Anna Friz into its prodigious sweep last summer. She traveled with mics, VLF receivers, contact mics and hydrophones—knowing that some of this gear as well as the interior cogs of our mobile gadgets—is comprised of the very trace elements being extracted from the desert beneath her feet. LISTEN in on the conversation.
Radiation Day: In Conversation with Anna Friz
The northern Chilean desert summoned transmission artist Anna Friz into its prodigious sweep last summer. She traveled with mics, VLF receivers, contact mics and hydrophones—knowing that some of this gear as well as the interior cogs of our mobile gadgets—is comprised of the very trace elements being extracted from the desert beneath her feet. LISTEN in on the conversation.
Dance of dream-led masses
If we are dancing a dream of ignorance around our planet’s future, perhaps a sound can pry open some of the residual oblivion. Two transmission artists, Anna Friz and Victoria Estok, consider environmental ruin—as witness-listener and as a kind of poetic intruder. LISTEN.
Dance of dream-led masses
If we are dancing a dream of ignorance around our planet’s future, perhaps a sound can pry open some of the residual oblivion. Two transmission artists, Anna Friz and Victoria Estok, consider environmental ruin—as witness-listener and as a kind of poetic intruder. LISTEN.
Where voices warp and swell
A woman’s cathartic scream skewers the foul-mouthed patriarchy. Four songstresses traverse the kinetic and vocal precipices of sonic artistry: Gelsey Bell and Sky High Diamonds, Kala Pierson and Kathy Kennedy. Play these songs when you need an echolocation to blip yourself to empowerment. LISTEN
Where voices warp and swell
A woman’s cathartic scream skewers the foul-mouthed patriarchy. Four songstresses traverse the kinetic and vocal precipices of sonic artistry: Gelsey Bell and Sky High Diamonds, Kala Pierson and Kathy Kennedy. Play these songs when you need an echolocation to blip yourself to empowerment. LISTEN
She who Witnesses
Women are given to ‘uncontrolled’ outflow of sound, including shrieking, wailing, sobbing. Putting a door on the female mouth was a goal of patriarchal culture. Men in powerful and political positions are openly voicing the misogyny they’ve long been
She who Witnesses
Women are given to ‘uncontrolled’ outflow of sound, including shrieking, wailing, sobbing. Putting a door on the female mouth was a goal of patriarchal culture. Men in powerful and political positions are openly voicing the misogyny they’ve long been
Sky High Diamonds
Shrill lament, loud laughter, screams of pain or pleasure, eruptions of raw emotions. This monstrous vocalizing opposes Greek virtues of women’s voices. Sarah Gatter’s voice wraps in swathes in a surging multi-layer contact with the listener. Don’t Fuck With
Sky High Diamonds
Shrill lament, loud laughter, screams of pain or pleasure, eruptions of raw emotions. This monstrous vocalizing opposes Greek virtues of women’s voices. Sarah Gatter’s voice wraps in swathes in a surging multi-layer contact with the listener. Don’t Fuck With
“Song is not a sharp weapon”
Aristotle tells us that the high-pitched voice of a woman is evidence of her evil disposition. Gelsey Bell’s improvising American national anthem winds a voice like a gnarly, worm-infested organ in a collaboration with radio artist Gregory Whitehead. It’s
“Song is not a sharp weapon”
Aristotle tells us that the high-pitched voice of a woman is evidence of her evil disposition. Gelsey Bell’s improvising American national anthem winds a voice like a gnarly, worm-infested organ in a collaboration with radio artist Gregory Whitehead. It’s
Like a circuit.
We know that women historically have been feared for being seductive, hellish, deadly: witness Aphrodite, The Furies, Sirens. The Greek myth of Echo is heard as a lack of voice or agency. Adèle Olivia Gladwell banishes the assumptions of
Like a circuit.
We know that women historically have been feared for being seductive, hellish, deadly: witness Aphrodite, The Furies, Sirens. The Greek myth of Echo is heard as a lack of voice or agency. Adèle Olivia Gladwell banishes the assumptions of
Veils, Politics, Static
Where is the bracing, live-in-the-moment feeling that I may never hear again what I am hearing on the radio? —Chris DeLaurenti Veiled Intentions in Radio Barry Lam I have
Veils, Politics, Static
Where is the bracing, live-in-the-moment feeling that I may never hear again what I am hearing on the radio? —Chris DeLaurenti Veiled Intentions in Radio Barry Lam I have
Tulips & Radio History
… it’s nothing short of daft that a superabundance of radio-driven experiments in audio fiction and composed non-fiction is being disappeared in my own adopted country in a neo-liberal inspired narrowing of the ‘listener offer’
Tulips & Radio History
… it’s nothing short of daft that a superabundance of radio-driven experiments in audio fiction and composed non-fiction is being disappeared in my own adopted country in a neo-liberal inspired narrowing of the ‘listener offer’