- Programme for Sonic Cyberfeminisms is now online… May 2, 2017
- Call for contributions: SONIC CYBERFEMINISMS January 4, 2017
- New Article: “Innovation, women’s work and the documentary impulse: pioneering moments and stalled opportunities in public service broadcasting in Australia and Britain” by Virginia Madsen January 3, 2017
- Australian Women in Radio online at the NFSA January 3, 2017
- Women hams ride the radio wave in India September 13, 2016
- Heidi Svømmekjær
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Author Archives: alecbadenoch
UNIVERSITY OF LINCOLN, UK
5-6th MAY 2017
DEADLINE FOR PROPOSALS: 12 FEBRUARY 2017
Details here: https://soniccyberfeminisms.wordpress.com/
New Article: “Innovation, women’s work and the documentary impulse: pioneering moments and stalled opportunities in public service broadcasting in Australia and Britain” by Virginia Madsen
Another dispatch from Australia:
Virginia Madsen has just published a new article comparing women’s work on features in Australian and Britain in Media Australia International. (And indeed, do check out all of Media International Australia, Volume 161, Issue 1, dealing with women’s work)
This article explores the roles of some of the key women producers, broadcasters and writers who were able to work within the British Broadcasting Corporation (BBC) and Australian Broadcasting Corporation (ABC) from their foundational periods to the 1950s. Despite the predominantly male culture of radio broadcasting from the 1920s to the 1970s, this article considers the significance and long-term impacts of some of these overlooked female pioneers at the forefront of developing a range of new reality and ‘talk’ forms and techniques. While the article draws on primary BBC research, it also aims to address these openings, cultures and roles as they existed historically for women in the ABC. How did the ABC compare in its foundational period? Significantly, this paper contrasts the two organisations in the light of their approaches to modernity, arguing that BBC features, the department it engendered, and the traditions it influenced, had far reaching impacts; one of these relating to those opportunities opened for women to develop entirely new forms of media communication: the unrehearsed interview and actuality documentary programmes.
Carla Teixeira has authored a new online feature for Australia’s National Film and Sound Archive about “Women in Radio” chronicling the lives and work of many of Australia’s women radio pioneers. Through texts and sound clips from seven key women in the early years of Australian wireless, it highlights the roles of women not only as presenters and performers but also as writers and producers from the earliest years.
Fascinating story on Scroll.in about amateur radio in India, including some references as well to the peculiar culture of gender that has evolved since the earliest days:
The term YL, or young lady, meaning an unmarried woman of any age, was coined in 1920 as a concession to the growing number of female hams. In time, when women married, they became known as XYLs, or ex-young ladies. After women operators in 1940 took umbrage to the second term, it became convention to call any licensed female ham, regardless of marital status, YL. Unlicensed wives of operators are XYLs. Men, regardless of marital status, are OM or old man.
Prasad is something of a trailblazer in the world of hams in India, with more awards and felicitations than she can list.
She became a ham in 1980, when there were perhaps only 50 YLs in India. She was a science student, but not familiar with electronics. Nor did she know English at the time, having studied in her first language, Telugu, until then. When she expressed interest in joining up, she faced stiff opposition from her community.
“Because my family are Brahmins, the Brahmins said, ‘No, no, you should not talk to gents. When you go on the radio, you will talk to gents only, no ladies’,” said Prasad. “But my brother-in-law supported me and said that if I become a ham, as a YL, I would be very popular. So I said okay.”
Prasad worked overtime to pick up the skills she needed. Today, she is among the most prominent hams in the country. Her call sign, or unique identifier with which she introduces herself while operating her radio, is VU2RBI.
Do check out the whole article!
I first realized there was a problem with my voice on the first day of tenth grade English class. The teacher, Mrs. C, had a formidable reputation of strictness and high standards. She had us sit in alphabetical order row after row, and then insisted on calling roll aloud while she sat at her desk. Each name emerged as both a command and a threat in her firm voice.
“Here,” I mumbled quietly. I was a Honor Roll student with consistent good grades, all A’s and one B on each report card, yet I was shy and softspoken in classes. This was an excellent way to make teachers amiable but largely go unnoticed. The softness of my voice made me less visible and less recognizable.
Mrs. C repeated my name. Caught off guard, I repeated “here” a little more loudly. She rose to her feet to…
View original post 2,375 more words
Deadline July 8th, 2016
A research event at
London College of Communication,
University of the Arts London
November 11th – 12th 2016
CALL FOR CONTRIBUTION Deadline July 8th, 2016
We are delighted to announce a call for the 3rd Sound::Gender::Feminism::Activism research event to take place in London on November 11th and 12th 2016.
Sound::Gender::Feminism::Activism is a bi-annual research event initially established in 2012 as a network for researchers, artists and performers working within intersectional fields of sound, gender, feminism and activism. SGFA::2012 delivered presentations and audio-visual artworks from thirty-six researchers, artists and performers from the UK, Europe, United States and Australia. SGFA::2014 incorporated performances, lectures, workshops and presentations from over thirty global participants. A publication that celebrates the presentations and participants from the previous two events will be launched at SGFA::2016.
SGFA::2016 seeks to query an expanded concept of White Noise. Working out from white noise’s original sonic conception of a random frequency, broad-based signal that masks everything else, white noise is all around us. White Noise is what Jennifer Stoever-Ackerman has termed a “sonic protocol” an often unquestioned norm based upon “culturally specific and socially constructed conventions that shape how sound is made, used and interpreted at a given moment”.
SGFA::2016 invites submissions for both twenty and ten minute contributions relating to the question;
How does whiteness, transmitted as an often sub-audible yet ubiquitous frequency, establish and maintain perceptual limits of what and who can be heard and how can this be changed?
How can we “confront and broadcast the underlying whiteness of the field and of the generic terms that provide so much currency in it: terms like “the listener,” “the body,” “the ear” and so on” (Stadler 2015) in ways that do not replicate racism, colonialism and gender violence but rather enable the audible transmission of alternative histories, forms, relations and ways of being.
SGFA::2016 will expand upon the previous research events through a combination of presentation formats over the course of two days; both twenty minute formal research papers and ten minute emerging researcher/artist presentations for the sharing of recent or ongoing work are sought.
This is an open call and we welcome responses from all relevant disciplines and will accept a variety of formats from academic presentations, proposals for artworks and documentation of artworks to more experimental contributions.
Please send expressions of interest, including the theme, topic and format of your presentation of around 200 words and a short biography of no more than 200 words by Friday 8th July, 2016 to SGFA2016.
Kindly supported by http://www.crisap.org