Artivistic 2009 - Montreal

Artivistic is an international transdisciplinary three-day gathering on the interPlay between art, information and activism. Artivistic emerges out of the proposition that not only artists talk about art, academics about theory, and activists about activism. Founded in 2004, the event aims to promote transdisciplinary and intercultural dialogue on activist art beyond critique, to create and facilitate a network of diverse peoples, and to inspire, proliferate, activate.

The world to come is so sexy. We are unstoppable for we are fueled with an incredible urge to embrace the pleasure provided by difference, exchange and liberation. Our actions today are charged with an energy that is animated by the rise of change and a movement that is simply irresistible. For its upcoming fourth edition, Artivistic is going sexy. From October 15 to 17, 2009, we invite participants to discuss, question, and imagine the proxemics of sexuality, technology and politics. While keeping issues of power and control in question, we want to turn to the potency of pleasure, curiosity, humor, and desire in order to TURN*ON that which has yet to be thought and experienced differently.

Here you can see a list of all the events during the gathering plus a list of all workshops artists, installations and collectives that participated.


Technesexual Arduino PD installation

Her Noise - 2005

Watch the full documentary HER NOISE at Ubuweb!

Her Noise was an exhibition which took place at South London Gallery in 2005 with satellite events at Tate Modern and Goethe-Institut, London. Her Noise gathered international artists who use sound to investigate social relations, inspire action or uncover hidden soundscapes. The exhibition included newly commissioned works by Kim Gordon & Jutta Koether, Hayley Newman, Kaffe Matthews, Christina Kubisch, Emma Hedditch and Marina Rosenfeld. A parallel ambition of the project was to investigate music and sound histories in relation to gender, and the curators set out to create a lasting resource in this area.

Throughout the development of the project, the curators conducted dozens of interviews, whilst also compiling sound recordings and printed materials which would eventually form the Her Noise Archive. The Her Noise Archive is a collection of over 60 videos, 300 audio recordings, 40 books and catalogues and 250 fanzines (approximately 150 different titles) compiled during the development of this project. The archive remains publicly accessible at the Electra office in central London.

Much of the material available in the archive was shot specifically for this project, and is uniquely available as part of this archive. The documentary 'Her Noise - The Making Of' was commissioned by Peacock Visual Arts, Aberdeen on the occasion of the 'Sound' festival and 'SoundAsArt' conference at University of Aberdeen.

The video documents the development of Her Noise between 2001 and 2005 and features interviews with artists including Diamanda Galas, Lydia Lunch, Kim Gordon, Jutta Koether, Peaches, Marina Rosenfeld, Kembra Pfhaler, Chicks On Speed, Else Marie Pade, Kaffe Matthews, Emma Hedditch, Christina Kubisch and the show's curators, Lina Dzuverovic and Anne Hilde Neset. The documentary also features excerpts from live performances held during Her Noise by Kim Gordon, Jutta Koether and Jenny Hoyston (Erase Errata), Christina Carter, Heather Leigh Murray, Ana Da Silva (The Raincoats), Spider And The Webs, Partyline, Marina Rosenfeld's 'Emotional Orchestra' at Tate Modern, and footage compiled for the 'Men in Experimental Music' video made during the development of the Her Noise project by the curators and Kim Gordon, featuring Thurston Moore and Jim O'Rourke.

Her Noise Archive:

Women Take Back the Noise

Compilation on experimental sound women from all over the world. To read more about the artists, project, work behind this release go to Women Take Back the Noise. To hear some of the sounds of the compilation click here

A hand-made package for this electronica collection of female artists made out of three CDs, enriched by stylized flyers, stickers, photos and notes on the artists involved, contained in a transparent blue case (there are pink and orange versions, too), with hinges and adorned by a cloth daisy with a 'noise cookie', a small device which emits squeaky noises and lights up a led closing a circuit. Too complicated? Not at all. This package, in limited edition of 1000, is an object to keep away from children, who are immediately attracted to it by its colors and playful appearance. The music, of course, is less 'friendly', often gloomy, glitchy, experimental and dissonant in its many influences that span industrial and leftfield-folk, dark wave and minimal. An array of unconventional experiences and biographies crosses these tracks: from Cosey Fanni Tutti (ex Throbbing Gristle), with a live recording made at the 'Wired Woman Festival' in London, to Bevin Kelley, a digital suffragette with Blectum From Blechdom who articulates field recordings and samples with indisputable skill, or to Insect Deli, a noise-girl, laptop artist and performer dressed like a ninja mosquito, or even to the Kunt group, Australian pseudo-lolitas with a rock attitude. There are as many as 47 artists in this release, a very fragmented summa of a cosmopolitan underground attitude that integrates pop abstractions, lo-fi, improvisation, classical culture and ambient-soundscape.

Wendy Walter Carlos

A primeira experimentação de genero na musica eletronica.



Nasceu em 1939 nos EUA. é uma musicista de música eletrônica, compositora de trilhas sonoras e uma das primeiras artistas (entre homens e mulheres) a compor utilizando sintetizadores.
A educação musical de Wendy Carlos (então ainda Walter) começou quando iniciou a tocar piano aos seis anos de idade. Sua educação formal incluiu a Universidade de Brown - onde estudou música e física. Walter começou a se destacar como compositor pela audácia nas experimentações musicais e pelo incessante interesse na então recém nascida musica eletrônica. Na década de 60 então, surgia um novo instrumento que possibilitava a geração de ruido controlável e sons gerados puramente pela eletricidade: era o sintetizador. Após a graduação Walter encontrou-se com Robert Moog (inventor do sintetizador) e foi uma das primeiras pessoas a utilizar-se de seus produtos.
Suas primeiras gravações foram lançadas com o nome Walter Carlos mas o experimentalismo estava presente em todos os aspectos de sua vida. Desde muito cedo Water desafiava os círculos de musica acadêmica e experimental com sua produção e com sua atitude. Walter já era a transexual Wendy e em 1972, cirurgia de redesignação sexual e passou a ser oficialmente Wendy Carlos.
Em 1969 Wendy lança o mais importante álbum de sua carreira e um dos mais importantes álbuns da historia dos sintetizadores: Switched on Bach. Ele consistia em interpretações com o sintetizador de musicas do compositor alemão Johan Sebastian Bach. Esse álbum eh tão importante pois foi consolidou de uma vez por todas que o sintetizador não era apenas um experimento de laboratório mas sim um instrumento musical. Entre outros trabalhos famosos, estão composições de trilhas para filmes como Laranja Mecânica e o Iluminado e a Bela e a Fera.

Experiment.ALL

Mulheres na musica experimental: ruido na composição do gênero.

A ausência.

é (quase) comum ver meninas que defendem gênero formando bandas de meninas, ou bandas de punk rock, e é comum ver mulheres liderando a musica pop com muito talento e até ver outras seduzindo multidões e muitas vezes não defendendo nada, mas, e quando falamos de musica experimental? E quando não queremos soar através de letras, nem palavras, nem rebolado? E quando não se quer estar presente em nenhum gênero possível a não ser o experimentalismo?

O campo da musica experimental é predominantemente ocupado por homens. Qualquer um que frequente os concertos de musica eletroacústica e improvisação, passando pelas escolas e pós graduações, chegando ate as pistas dos clubes e festivais de musica eletrônica pode chegar a essa conclusão. Existem mulheres fazendo musica experimental? Existem mulheres experimentais fazendo musica? As vezes me confundo entre essas perguntas.

Fico em uma constante duvida se quero que, independemente de ser feminista, meu experimentalismo sonoro quebre as barreiras de gênero musical, ou, se quero que meu experimentalismo feminino, através da musica ruida, quebre barreiras na discussão de gênero e sexualidade.

ENUDS

Essa semana rolou em BH o ENUDS: encontro universitario de diversidade sexual. Eu e um amigo resolvemos fazer rapidinho um zine pra colocar em circulação por la com algumas ideias que proponho discutir aqui no blog. Então, desde ja, vou começar a divulgar por aqui alguns textos do zine de estreia, e dos que virão por ai.

To start With

The subject of women in music is a diverse and far-reaching discipline. Therefore, when thinking about women's contributions to music it is important to recognize the many differences among classes and races, different places and historical periods have different experiences expressing themselves through music. Yet women are linked by the way in which society constructs an identity for them because of their gender, and by the boundaries and expectations it creates for their participation in musical life.