Speech acts, forms of writing, modes of public expression, all become crucial to revolutionary action and to understanding and fomenting social change. It wasn’t just…
Composing Paradoxes | Feminist Process in Sound Arts and Experimental Musics
Category: Chapter 2 | Unspeakable Noise
There is a claim, it can be proffered, within in Cathy Lane’s Hidden Lives (1999), that certain kinds of speech can be heard as illocutionary…
Rae Langton, in “Speech Acts and Unspeakable Acts”, addresses three types of speech acts that silence. Firstly there is the failure to perform the locutionary act…
Cathy Lane’s Hidden Lives (1999) sounds out a protest about the specifically gendered performances – or speech acts – that The Book of Hints and Wrinkles…
Following the theme of covering and uncovering hidden lives and hertories is artist and writer Emma Hedditch’s installation We’re Alive, Let’s Meet! (2005). Hedditch’s installation…
Anthropologist and musician Georgina Born suggests an alternative term to Alejandro Madrid’s ‘performance complex’, what she instead calls a “musical assemblage” (Born 2010: 88). For…
Instead of requiring a traditional analysis of musical structure, We’re Alive, Let’s Meet! calls for an analysis of musical relationships between sociopolitical bodies, rather than between…
I mean to kind of look at why so few women are written about, how that’s recorded and how that all feeds in to a…
Emma Hedditch’s installation We’re Alive, Let’s Meet! (2005), consisting of a series of ‘get-togethers’, queers hegemonic disciplines of psychoanalysis and pedagogy through a subversive appropriation…
The two works addressed in this chapter, Cathy Lane’s Hidden Lives (1999) and Emma Hedditch’s We’re Alive, Let’s Meet! (2005) provide complimentary movements for an appreciation of the…