SHRILL

SHRILL is a study of the female gendered voice. SHRILL is a study of our ability to listen.

The voice. In The Gender of Sound, Anne Carson discusses the cultural codes of the gendered voice. Carson argues that there is an embedded prejudice against the female gendered voice – a voice that is easily regarded too piercing or too shrill. What consequences follow this general skepticism against the female gendered voice, that is inscribed into our culture? According to voice researcher Susanna Withling at Lund University (SE), the voice clinics report approx. twice as many patients identifying as cis-women, compared to cis-men. Hence, this voice is failing more often to perform its daily tasks.

The sound piece SHRILL intends to create a space not only for the voice of the cis-woman, but for all the voices that are being belittled due to the nature of their pitch.

The unwanted voice. The broken voice. The cute voice. The fighting voice.

Listening as a political strategy. This work is also strongly linked to listening. The output of a voice has to increase when it’s not getting it’s fair amount of attention. SHRILL is considering our ability to listen, our ability to direct our attention to the voices that needs to be heard. This is a gesture of support that we need to engage with in our everyday life. We need to actively practice listening as a strategy meet structural collapses such as social and ecological.

This work seeks to touch parts of our common body where inherited prejudices are still being cultivated in our society.

SHRILL is a direct continuation of the piece “Sound as Touch” (2016), a commission for Audiorama in Stockholm. A piece that wishes to engage our tactile sense trough sound.

Topp & Giertz. In SHRILL Giertz wishes to critically reflect on the relationships between voice, sound, motion, politics and perception. An ongoing work that is part of the research for Oceanic, a choreographic work that Giertz is developing together with choreographer Marie Topp (DK) during 2018.

First part of the research is conducted at the 24-channel dome at Notam, Oslo, in 2018.

Partners are

Notam in Oslo (NO)  // IAC in Malmö (SE)  // EMS in Stockholm (SE) // Danish Arts Fundation

 

Tack till

Katinka Fogh Vindlev

 

 

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