“Hi. In coming here, flying by aeroplane, you get a lovely view of fields. Wonderful stone walls, that look like they’ve taken centuries to build. I thought, “How civilised”. Now I’m going to talk about blurring the boundaries.”
“The challenge for us is to find some way of working the in-between.”
She speaks clearly. Her musical training left her alone when confronting sound art. She introduces her central theme, that of ‘ ecriture feminine, a French post-structuralists project that speaks of ‘writing the female body’, and proposes an approach to writing informed by fluidity, fragmentation, and joissance, which are, it is argued, embodied in, and by the female body. It was a refusal to comply with existing forms of writing; Joyce traces this trajectory of nascent post-structuralism in the early 1970s, and joins this with moves within musical discourse away from the formalisms of serialism, a reshaping of discourse demarcated by the contrasting strategies of Boulez and Cage. The French feminists proposed a new way of reading, an approach that would preserve the essence of the strangeness of each text.
“There are as many ways of reading a text as there are readers”.
Joyce moves on to introduce the work of Maryanne Amacher, and plays us an except from ‘Head Rhythm 1’. She provides us with a projection of the wave form.
playback > >
“We have to play this loud to get the effect she’s looking for”.
Some people put their fingers in their ears.
“Now I’ll skip to the middle part”.
My ears begin to emit sounds as much as taking sounds in.
Joyce then provides a strong formal analysis of the composition’s structure.
“Boy, I sure read this paper faster at home, than I am here”.
She relates Amacher’s work to that of the Feminist post-structuralists, and argues that goal of ecriture feminine is not a masculine obsession with domination and consolidation, but a radically feminised agenda of dissemination. In regard to Amacher’s work, Joyce proposes that her work has no relation to the traditional high art score, nor to text. There is no report to dominate, and Amacher, by cutting into existing forms, she deconstructs them.
keywords: Terre Thaemlitz, Bob Ostertag – sound and gender, queer, trans
Kubsich “I found Maryanne’s work very loud, very vibrating. I went around with her at her recent installation (Berlin, Singhur Gallery?), there were sounds coming from places you can’t hear. At the install festival (get location, year) her performance was very visceral”.
Male voice, comment from audience, “I thought I was going to have a flashback, I thought I was going to be sick. It was great”.
Kubisch,”Yes it was beautiful, but terrifying”.