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Ruidos rosados: música y sonido electrónicos para mujeres, libro de bolsillo de Rodgers, Tara...-
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- ¡Cómpralo ya!Ruidos rosados: música y sonido electrónicos para mujeres, libro de bolsillo de Rodgers, Tara...
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N.º de artículo de eBay:364388008804
Última actualización el 19 jun 2024 12:33:53 H.EspVer todas las actualizacionesVer todas las actualizaciones
Características del artículo
- Estado
- ISBN
- 9780822346739
- Book Title
- Pink Noises : Women on Electronic Music and Sound
- Publisher
- Duke University Press
- Item Length
- 9.2 in
- Publication Year
- 2010
- Format
- Trade Paperback
- Language
- English
- Illustrator
- Yes
- Item Height
- 0.5 in
- Genre
- Music, Social Science
- Topic
- Women's Studies, Genres & Styles / Electronic, Genres & Styles / Rock
- Item Weight
- 16.8 Oz
- Item Width
- 5.8 in
- Number of Pages
- 336 Pages
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Product Identifiers
Publisher
Duke University Press
ISBN-10
0822346737
ISBN-13
9780822346739
eBay Product ID (ePID)
80058568
Product Key Features
Book Title
Pink Noises : Women on Electronic Music and Sound
Number of Pages
336 Pages
Language
English
Topic
Women's Studies, Genres & Styles / Electronic, Genres & Styles / Rock
Publication Year
2010
Illustrator
Yes
Genre
Music, Social Science
Format
Trade Paperback
Dimensions
Item Height
0.5 in
Item Weight
16.8 Oz
Item Length
9.2 in
Item Width
5.8 in
Additional Product Features
LCCN
2009-039109
Reviews
" 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 Easterninflected 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, " Pink Noises touches upon nearly every aspect of female involvement in the evolution of electronic music and sound. . . . This book would be worthwhile if only for its excellent, clearly written glossary of essential terms and its basic primer on the history of the speed-of-light changes of a mega-industry and tools that most westerners use-in our current climate of relatively affordable consumerism: (if not necessarily civilization)-on a virtually daily basis and that we take for granted." - Deborah Frost, Women's Review of Books, "[Rodgers] conducted thoughtful, detailed interviews with a wide range of artists. . . . Even when I don't much care for the artist Rodgers is talking to . . . the discussion is lively and interesting. . . . 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." - Peter Margasak, Chicago Reader, What does it mean to be a female electronic musician? This seemingly simple question lies at the heart of Pink Noises , Tara Rodgers's compelling exploration into the relationship between technology and gender. . . . Rodgers's book serves as both an introduction to the world of music and technology, even providing an extensive glossary, and inspirational manifesto, revealing that to succeed as an artist is to follow one's own unique path, no matter what., “ 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, " Pink Noises touches upon nearly every aspect of female involvement in the evolution of electronic music and sound. . . . This book would be worthwhile if only for its excellent, clearly written glossary of essential terms and its basic primer on the history of the speed-of-light changes of a mega-industry and tools that most westerners use--in our current climate of relatively affordable consumerism: (if not necessarily civilization)--on a virtually daily basis and that we take for granted." - Deborah Frost, Women's Review of Books, "One of the best music books of 2010, Tara Rodgers's Pink Noises , gave an accessible window into what looks to be many years of research into gender, identity and electronic music. . . ." - Frances Morgan, The Quietus, "What does it mean to be a female electronic musician? This seemingly simple question lies at the heart of Pink Noises, Tara Rodgers's compelling exploration into the relationship between technology and gender. . . . Rodgers's book serves as both an introduction to the world of music and technology, even providing an extensive glossary, and inspirational manifesto, revealing that to succeed as an artist is to follow one's own unique path, no matter what." -, " Pink Noises is an original and important contribution to discourse in electronic music, musicology, and gender studies. Rodgers's unique background as both electronic musician and scholar allows her to ask incisive questions about both creative process and cultural situation. And the introductory essay is nothing less than groundbreaking in its attempt to birth an alternate historiography for electronic music and to theorize the language and systems of electronic music." - Betsey Biggs, Women & Music, "[A] vitally needed book, and it really is wonderful to read so many women talking passionately about the subject." - Emily Manuel, Bitch, "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 Easterninflected 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, "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, I love opening this book and flipping to a random interview. Each one is extremely personal but also technical and conceptual, exploring the artist's unique relationship to sound and space. It's refreshing to read about these women's musical journeys in the context of a male-dominated field like electronic music., " Pink Noises is an extremely well informed, informative and inspiring discussion of some of the most crucial aspects and developments in electronic music. The innovators and actors behind these developments happen to be women and Pink Noises thereby highlights the astounding male centeredness in standard accounts and representation in electronic music." - Anna Gavanas, Dancecult, Tara Rodgers . . . is as interested in the way these women do their work as what inspires it, or what it represents.
Dewey Edition
22
Dewey Decimal
786.7092/2
Table Of Content
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
Synopsis
A collection of twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and performance artists., 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)
LC Classification Number
ML82.R65 2010
ebay_catalog_id
4
Copyright Date
2010
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N.º de artículo de eBay:364388008804
Última actualización el 19 jun 2024 12:33:53 H.EspVer todas las actualizacionesVer todas las actualizaciones
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