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Pink Noises de Tara Rodgers

Pink Noises

Autor Tara Rodgers
en Limba Engleză Paperback – 23 mar 2010

Descoperim în Pink Noises o monografie esențială care redefinește istoria și prezența feminină în peisajul sunetului experimental. Departe de a fi doar o cronică biografică, volumul semnat de Tara Rodgers funcționează ca o arhivă vie a inovației, unde tehnologia se întâlnește cu viziunea artistică pură. Notăm cu interes modul în care autoarea reușește să transforme dialogul în instrument de analiză, oferind spațiu unor voci care au modelat subgenuri întregi, de la ambientul meditativ la ritmurile complexe de Basement Bhangra. Observăm o organizare riguroasă pe șase coordonate conceptuale, care ne poartă de la explorarea timpului și a memoriei în opera unor pionieri precum Pauline Oliveros sau Eliane Radigue, până la relația viscerală dintre corp și mașinărie în capitolul dedicat limbajului și mecanizării. Complementar volumului Noise in and as Music de Aaron Cassidy, care analizează zgomotul ca material compozițional abstract, Pink Noises aduce o perspectivă profund ancorată în identitate și practică socială, demonstrând că „zgomotul” nu este doar o frecvență, ci un act de rezistență și creație. Experiența de lectură este îmbogățită de cele 38 de ilustrații care surprind sintetizatoare modulare construite manual sau aparate purtabile ce traduc mișcarea mușchilor în sunet electronic. Textul nu se limitează la teorie, ci oferă o incursiune senzorială în atelierele și studiourile acestor artiste, dezvăluind procese creative intime și provocările tehnice depășite. Publicată de Duke University Press, această lucrare în format paperback reprezintă un document istoric și tehnic de o valoare incontestabilă pentru oricine dorește să înțeleagă complexitatea culturii electronice contemporane.

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Specificații

ISBN-13: 9780822346739
ISBN-10: 0822346737
Pagini: 336
Ilustrații: 38 illustrations
Dimensiuni: 152 x 229 x 19 mm
Greutate: 0.49 kg
Editura: Duke University Press

De ce să citești această carte

Această carte este recomandarea noastră pentru pasionații de muzică electronică și studenții la arte care doresc să descopere o perspectivă feminină asupra tehnologiei audio. Cititorul câștigă acces la metodologiile de lucru ale unor artiste legendare și la un glosar tehnic util. Este un volum care demonstrează că inovația tehnologică în muzică a fost întotdeauna un teritoriu al diversității, oferind inspirație concretă pentru viitoarele generații de creatori de sunet.

Descriere scurtă

Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women and girls. That site featured interviews that Rodgers conducted with women artists, exploring their personal histories, their creative methods, and the roles of gender in their work. This book offers new and lengthier interviews, a critical introduction, and resources for further research and technological engagement. Contemporary electronic music practices are illuminated through the stories of women artists of different generations and cultural backgrounds. They include the creators of ambient soundscapes, "performance novels," sound sculptures, and custom software, as well as the developer of the Deep Listening philosophy and the founders of the Liquid Sound Lounge radio show and the monthly Basement Bhangra parties in New York. These and many other artists open up about topics such as their conflicted relationships to formal music training and mainstream media representations of women in electronic music. They discuss using sound to work creatively with structures of time and space, and voice and language; challenge distinctions of nature and culture; question norms of technological practice; and balance their needs for productive solitude with collaboration and community. Whether designing and building modular synthesizers with analog circuits or performing with a wearable apparatus that translates muscle movements into electronic sound, these artists expand notions of who and what counts in matters of invention, production, and noisemaking. Pink Noises is a powerful testimony to the presence and vitality of women in electronic music cultures, and to the relevance of sound to feminist concerns. Interviewees: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat)

Recenzii

“Pink Noises is a breath of fresh air when you look at how many electronic music books are about more of the same: boys with toys. From the Middle Eastern–inflected electronica of DJ Mutamassik, to the Punjabi rhythms of DJ Rekha, to the academix of Pamela Z and Pauline Oliveros, Tara Rodgers’s examination of women as central figures in the creative processes of twenty-first-century art and music is a must-read for anyone who cares about the future of music in our hyper-connected and hyper-post-everything contemporary life.”--Paul D. Miller, aka DJ Spooky

“A wonderfully diverse international mix of interviews, essays, reviews, and links.”--Michael Paoletta, Billboard

“Great practical advice on music making.”--URB

“Everything you ever wanted to know about electronic music and the women making it.”--Tamara Warren, Nylon

“Pinknoises doesn’t just talk girl power, they enable it.”--Soo-Hyun Chung, Mixer

“Acknowledges women’s space in the world of electronic music and celebrates it with information, education, and innovation.”--Flavorpill

“Go girls!”--Anne Hilde Neset, The Wire

“Rodgers clearly understands many disparate modes of music making, and sounds equally authoritative whether she's talking about elaborate programming schemes, the language of analog synthesizers, or record buying. She doesn't shy away from the occasional use of technical language, but the talks are generally clear and lucid.” - Chicago Reader

“Overall, though, the book’s weaving of cultural theory, biography and personal experience is cogent in its readability, revelations and range of perspectives. And while it is not meant to be a comprehensive history of women in electronic music, it fills a much needed gap in the coverage of women in experimental and improvised music, it fills a much needed gap in the coverage of women in experimental and improvised music, in particular. With its in-depth discussions of technical equipment, the book also severs as a resource for practising musicians and leaves open the possibility of inspiring the uninitiated to plug in and turn on.” The Wire

“[T]he interviews offer rich, multi-generational accounts of lives spent creating in the field of electronic music. . . . One of the signal values of the book is the multiplicity of practices it encapsulates. . . . Again and again the books’ presentation of such neglected variety implicitly highlights the degree to which the standard story of electronic music history has been weighted on the side of male innovation and production.”—Nichola Scrutton, Popular Music

“The introductory essay is smart, political, thorough, thoughtful and filled with interesting references. . . . Acknowledging labourers, manufacturers, producers, musicians, composers, listeners, consumers and attendees as contributors to electronic music, Rodgers cracks open a narrow divide of written history and offers an inspiring read and dialogue for readers to engage in.”—Deanna Radford, Herizons

“[A] good book that champions the musical output of a variety of female electronic instrumentalists who continue to challenge how we conceptualize popular music.”—Feminist Music Geek

“[A] welcome rethinking of the theory and practice of electronic aesthetics. . . . Though this volume cannot ultimately resolve the questions raised by the inherent conceptual incongruity between female difference and sonic difference (and given their disjunction, how could it?), the collective exuberance, eloquence, and authority conjured up within these conversations is ample compensation.”— Drew Daniel, Journal of Popular Music Studies


"Pink Noises is a breath of fresh air when you look at how many electronic music books are about more of the same: boys with toys. From the Middle Eastern-inflected electronica of DJ Mutamassik, to the Punjabi rhythms of DJ Rekha, to the academix of Pamela Z and Pauline Oliveros, Tara Rodgers's examination of women as central figures in the creative processes of twenty-first-century art and music is a must-read for anyone who cares about the future of music in our hyper-connected and hyper-post-everything contemporary life."--Paul D. Miller, aka DJ Spooky "A wonderfully diverse international mix of interviews, essays, reviews, and links."--Michael Paoletta, Billboard "Great practical advice on music making."--URB "Everything you ever wanted to know about electronic music and the women making it."--Tamara Warren, Nylon "Pinknoises doesn't just talk girl power, they enable it."--Soo-Hyun Chung, Mixer "Acknowledges women's space in the world of electronic music and celebrates it with information, education, and innovation."--Flavorpill "Go girls!"--Anne Hilde Neset, The Wire "Rodgers clearly understands many disparate modes of music making, and sounds equally authoritative whether she's talking about elaborate programming schemes, the language of analog synthesizers, or record buying. She doesn't shy away from the occasional use of technical language, but the talks are generally clear and lucid." - Chicago Reader "Overall, though, the book's weaving of cultural theory, biography and personal experience is cogent in its readability, revelations and range of perspectives. And while it is not meant to be a comprehensive history of women in electronic music, it fills a much needed gap in the coverage of women in experimental and improvised music, it fills a much needed gap in the coverage of women in experimental and improvised music, in particular. With its in-depth discussions of technical equipment, the book also severs as a resource for practising musicians and leaves open the possibility of inspiring the uninitiated to plug in and turn on." The Wire "[T]he interviews offer rich, multi-generational accounts of lives spent creating in the field of electronic music... One of the signal values of the book is the multiplicity of practices it encapsulates... Again and again the books' presentation of such neglected variety implicitly highlights the degree to which the standard story of electronic music history has been weighted on the side of male innovation and production." - Nichola Scrutton, Popular Music "The introductory essay is smart, political, thorough, thoughtful and filled with interesting references... Acknowledging labourers, manufacturers, producers, musicians, composers, listeners, consumers and attendees as contributors to electronic music, Rodgers cracks open a narrow divide of written history and offers an inspiring read and dialogue for readers to engage in." - Deanna Radford, Herizons "[A] good book that champions the musical output of a variety of female electronic instrumentalists who continue to challenge how we conceptualize popular music." - Feminist Music Geek "[A] welcome rethinking of the theory and practice of electronic aesthetics... Though this volume cannot ultimately resolve the questions raised by the inherent conceptual incongruity between female difference and sonic difference (and given their disjunction, how could it?), the collective exuberance, eloquence, and authority conjured up within these conversations is ample compensation." - Drew Daniel, Journal of Popular Music Studies

Textul de pe ultima copertă

""Pink Noises" is a breath of fresh air when you look at how many electronic music books are about more of the same: boys with toys. From the Middle Eastern-inflected electronica of DJ Mutamassik, to the Punjabi rhythms of DJ Rekha, to the academix of Pamela Z and Pauline Oliveros, Tara Rodgers's examination of women as central figures in the creative processes of twenty-first-century art and music is a must-read for anyone who cares about the future of music in our hyper-connected and hyper-post-everything contemporary life."--Paul D. Miller, aka DJ Spooky

Cuprins

Acknowledgments ix
Introduction 1
Part 1. Time and Memory 25
Pauline Oliveros 27
Kaffe Matthews 34
Carla Scaletti 43
Eliane Radigue 54
Part 2. Space and Perspective 61
Maggi Payne 63
Ikue Mori 73
Beth Coleman (M. Singe) 81
Maria Chavez 94
Part 3. Nature and Synthetics 105
Christina Kubisch 107
Annea Lockwood 114
Chantal Passamonte (Mira Calix) 128
Jessica Rylan 139
Part 4. Circulation and Movements 157
Susan Morabito 159
Rekha Malhotra (DJ Rekha) 169
Giulia Loli (DJ Mtuamassik) 178
Jeannie Hopper 190
Part 5. Language, Machines, Embodiment 201
Antye Gueie (AGF) 203
Pamela Z 216
Laetitia Sonami 226
Bevin Kelley (Blevin Blectum) 235
Part 6. Alone/Together 243
Le Tigre 245
Bev Stanton (Arthur Loves Plastic) 255
Keiko Uenishi (o.blaat) 263
Riz Maslen (Neotropic) 273
Glossary 283
Discography 295
References 301
Index 313