Whether in brief conversations or more sustained dialogues, my contact with them has meant a lot: Lisa Barg, Michael Bierylo, John Bischoff, Dan Cavicchi, Joel Chadabe, Owen Chapman, Tommy DeFrantz, Rebekah Farrugia, Anna Friz, Annie Gosfield, Donna Haraway, Elizabeth Hinkle-Turner, Dan Hirsch, Elise Kermani, Shoshana Magnet, Charity Marsh, Trevor Pinch, Ann Powers, Hildegard Westerkamp, and Richard Zvonar. Many other artists, journalists, and scholars offered information and support along the way. Andra McCartney at Concordia University generously lent her expertise. Darin Barney, Carrie Rentschler, Will Straw, andġ1 Acknowledgments my colleagues in the graduate program in communication studies at McGill provided valuable input and encouragement. In Montreal, Jonathan Sterne provided detailed feedback and superb advising. I am grateful for many fruitful encounters in the MFA program in electronic music at Mills College, especially for Maggi Payne s attention to sonic detail Fred Frith s open-mindedness and commitment to community Pauline Oliveros s ideas about music and feminism Chris Brown s enthusiasm for computer music Alvin Curran s experimentalism and David Kwan s gift for straightforward critique.
Susan Smulyan at Brown University has remained over many years an outstanding mentor and friend undergraduate music seminars with Carol Babiracki and Rose Subotnik also sparked interests that run through this project. Ladyfest in Chicago and Texas Estrojam in Chicago Brock Phillips at Motormouth Media in Los Angeles Anne Hilde Neset at the Wire Tomas Palermo and others at XLR8R, Emily Griffin of Electric W.O.M.B., the Sister SF collective, and Ninah & das of KPFA/No Other Radio Network in the Bay Area DJ Cyan, CKUT, and Studio XX in Montreal.
An extended network of people supported the site or my music during this period, which laid a foundation for this book: Adrienne Day, Chealsea Wierbonski, Lola Rephann of Deep See, and Brenda Kahn of Womanrock in New York City Carla DeSantis of Rockrgrl in Seattle the First Ladies DJ Collective in Washington, D.C. Karen Choy generously contributed her design skills toward the realization of from 2000 to 2005, and without her work the site would have been much less vibrant if not impossible to maintain. I hope that the book circulates their sounds and stories fairly and widely. I have been impressed by their work and moved by their willingness to communicate aspects of their creative lives toward this project. Their experiences and talents speak volumes, far beyond the scope of one book. 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 313ġ0 Acknowledgments I am most grateful to the artists I interviewed for this book and its web-based predecessor,. Language, Machines, Embodiment 201 Antye Greie (AGF) 203 Pamela Z 216 Laetitia Sonami 226 Bevin Kelley (Blevin Blectum) 235 Part 6.
Circulation and Movements 157 Susan Morabito 159 Rekha Malhotra (DJ Rekha) 169 Giulia Loli (DJ Mutamassik) 178 Jeannie Hopper 190 Part 5. Nature and Synthetics 105 Christina Kubisch 107 Annea Lockwood 114 Chantal Passamonte (Mira Calix) 128 Jessica Rylan 139Ĩ Part 4. Space and Perspective 61 Maggi Payne 63 Ikue Mori 73 Beth Coleman (M. Time and Memory 25 Pauline Oliveros 27 Kaffe Matthews 34 Carla Scaletti 43 Eliane Radigue 54 Part 2. Rodgers and Sue Ann Hoogkamp Rodgersħ Contents Acknowledgments ix Introduction 1 Part 1. Frontispiece: Jessica Rylan performing with The Personal Synth, Photo by Lawrence Braun.Ħ For Francis W.
#PINK FUNHOUSE ALBUM THE SONG WHERE SHE IS IN A CAGE PRO#
4 Pink Noises: Women on Electronic Music and Sound Tara Rodgers Duke University Press Durham and London 2010ĥ 2010 Duke University Press All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Chaparral Pro by Achorn International Library of Congress Catalogingin-Publication Data appear on the last printed page of this book.
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