December 17, 2020
The Heart in Her Mouth is a volume of three correlating essays written with Sh... more December 17, 2020
The Heart in Her Mouth is a volume of three correlating essays written with Sheila Chukwulozie, Vibeke Mascini and Urok Shirhan.
First delivered as a talk on "Composing Feminisms" at Guildhall's ResearchWorks, November 2020.
... more First delivered as a talk on "Composing Feminisms" at Guildhall's ResearchWorks, November 2020.
Please message for PDF
Commissioned by Bianca Stoppani for Almanaccare series, Almanac, London and Turin.
http://www.... more Commissioned by Bianca Stoppani for Almanaccare series, Almanac, London and Turin.
For Theatrum Mundi and Onassis Stegi, The City Talks Back, 2020
A composition circling a spoken text as it performs an "orbital translation".
Translations by Eir... more A composition circling a spoken text as it performs an "orbital translation". Translations by Eirini Amanatidou and Gigi Argyropoulou
The Creative Critic: writing as/about practice, eds. Katja Hilevaara and Emily Orley, 2018
What follows, through my thinking about how we listen in ever-expanding and contracting proximiti... more What follows, through my thinking about how we listen in ever-expanding and contracting proximities to sonic material, is my own reckoning with how to write (about) sound. I began above concentrating on the sounds I am surrounded by now (which of course always holds the ‘then’ and the ‘what will be’) to expose a method which is implicit throughout this writing: ways of reading/perceiving the layers of live sound overlapped again with associated sounds, played back in memory. Listening constellates the sound of times, spaces and contexts, marking similarities and significant differences in the act, and this attentive listening to the complexity of correlating times is key to this method I am working with here, a method which relies on keeping faith in the absence of fact, of feeling the trace elements of something in the air, on the air, of listening to the materiality of vibrations and hearing imagination as information.
Compelled and confounded by the distance between the speaker and receiver in early telephonic com... more Compelled and confounded by the distance between the speaker and receiver in early telephonic communication, an anonymous reporter of the Scientific American called it ‘an airy nowhere, inhabited by voices and nothing else.’ Conceiving spatial and temporal distances as areas which can host the event of the voice, this article attends to the voice on the record as a particular example of transmission into the airy nowhere. Approaching how reproduction complicates the distance the voice performs in and through; and experimenting with how the material of the record might make the voice more material in its sounding, the research considers how the record of the voice has its own ‘auratic’ presence in the instance of its replaying.
This article argues that British Artist Georgina Starr's scoring of wind in her 1992 work Whistle... more This article argues that British Artist Georgina Starr's scoring of wind in her 1992 work Whistle enables much of her authorial control in composing with turbulent air, in making an object, which draws attention to the task of preserving the air current as ‘exquisitely … intact.’ At the same time instructional and open for interpretation, her notational score made of arrows suspended in mid air materialises a practice of simultaneously holding on and letting go of control. Discussing the methods of Whistle’s making and playing with turbulence as vital for a feminist agenda, this article attends to how both air and the artist (together and apart) practice resistance. For, in mimicking the whirling wind with her whistling Starr literally re-composes a sensation of movement in turbulent air, capturing ‘an element, a fragment, of chaos in the frame’ (Grosz, 2008:18).
While Stein attends to the written composition, its moments of vocal delivery are implied in the ... more While Stein attends to the written composition, its moments of vocal delivery are implied in the matrix of compositions she develops, and when she says “speaking is composition” the potential for the auditory life of the words-as-sound is sparked. Being present here, speaking these words out loud, I also make a live composition with voice: a sounded composition made from breath, from the air in the body pushed into the mouth and molded by teeth, tongue, and palate. It is the sounded composition I want to pay particular attention to here, how Ophelia composes herself, and the influence of sound in doing so. I want to discuss the ways Ophelia uses listening to compose, drawing elements from the speech she hears around her. I hope that in giving attention to Ophelia’s form (the sound of her vocal composition), rather than her content (the linguistic meaning carried in her speech), I can offer some “explanation,” or at least offer her character some more complexity as a vocal body, as one who speaks through audition.
Conversation about the broadcasting potential of Zoom and other internet-based platforms by Ella ... more Conversation about the broadcasting potential of Zoom and other internet-based platforms by Ella Finer and Urok Shirhan. This conversation was recorded on 16.06.2020.
December 17, 2020
The Heart in Her Mouth is a volume of three correlating essays written with Sh... more December 17, 2020
The Heart in Her Mouth is a volume of three correlating essays written with Sheila Chukwulozie, Vibeke Mascini and Urok Shirhan.
First delivered as a talk on "Composing Feminisms" at Guildhall's ResearchWorks, November 2020.
... more First delivered as a talk on "Composing Feminisms" at Guildhall's ResearchWorks, November 2020.
Please message for PDF
Commissioned by Bianca Stoppani for Almanaccare series, Almanac, London and Turin.
http://www.... more Commissioned by Bianca Stoppani for Almanaccare series, Almanac, London and Turin.
For Theatrum Mundi and Onassis Stegi, The City Talks Back, 2020
A composition circling a spoken text as it performs an "orbital translation".
Translations by Eir... more A composition circling a spoken text as it performs an "orbital translation". Translations by Eirini Amanatidou and Gigi Argyropoulou
The Creative Critic: writing as/about practice, eds. Katja Hilevaara and Emily Orley, 2018
What follows, through my thinking about how we listen in ever-expanding and contracting proximiti... more What follows, through my thinking about how we listen in ever-expanding and contracting proximities to sonic material, is my own reckoning with how to write (about) sound. I began above concentrating on the sounds I am surrounded by now (which of course always holds the ‘then’ and the ‘what will be’) to expose a method which is implicit throughout this writing: ways of reading/perceiving the layers of live sound overlapped again with associated sounds, played back in memory. Listening constellates the sound of times, spaces and contexts, marking similarities and significant differences in the act, and this attentive listening to the complexity of correlating times is key to this method I am working with here, a method which relies on keeping faith in the absence of fact, of feeling the trace elements of something in the air, on the air, of listening to the materiality of vibrations and hearing imagination as information.
Compelled and confounded by the distance between the speaker and receiver in early telephonic com... more Compelled and confounded by the distance between the speaker and receiver in early telephonic communication, an anonymous reporter of the Scientific American called it ‘an airy nowhere, inhabited by voices and nothing else.’ Conceiving spatial and temporal distances as areas which can host the event of the voice, this article attends to the voice on the record as a particular example of transmission into the airy nowhere. Approaching how reproduction complicates the distance the voice performs in and through; and experimenting with how the material of the record might make the voice more material in its sounding, the research considers how the record of the voice has its own ‘auratic’ presence in the instance of its replaying.
This article argues that British Artist Georgina Starr's scoring of wind in her 1992 work Whistle... more This article argues that British Artist Georgina Starr's scoring of wind in her 1992 work Whistle enables much of her authorial control in composing with turbulent air, in making an object, which draws attention to the task of preserving the air current as ‘exquisitely … intact.’ At the same time instructional and open for interpretation, her notational score made of arrows suspended in mid air materialises a practice of simultaneously holding on and letting go of control. Discussing the methods of Whistle’s making and playing with turbulence as vital for a feminist agenda, this article attends to how both air and the artist (together and apart) practice resistance. For, in mimicking the whirling wind with her whistling Starr literally re-composes a sensation of movement in turbulent air, capturing ‘an element, a fragment, of chaos in the frame’ (Grosz, 2008:18).
While Stein attends to the written composition, its moments of vocal delivery are implied in the ... more While Stein attends to the written composition, its moments of vocal delivery are implied in the matrix of compositions she develops, and when she says “speaking is composition” the potential for the auditory life of the words-as-sound is sparked. Being present here, speaking these words out loud, I also make a live composition with voice: a sounded composition made from breath, from the air in the body pushed into the mouth and molded by teeth, tongue, and palate. It is the sounded composition I want to pay particular attention to here, how Ophelia composes herself, and the influence of sound in doing so. I want to discuss the ways Ophelia uses listening to compose, drawing elements from the speech she hears around her. I hope that in giving attention to Ophelia’s form (the sound of her vocal composition), rather than her content (the linguistic meaning carried in her speech), I can offer some “explanation,” or at least offer her character some more complexity as a vocal body, as one who speaks through audition.
Conversation about the broadcasting potential of Zoom and other internet-based platforms by Ella ... more Conversation about the broadcasting potential of Zoom and other internet-based platforms by Ella Finer and Urok Shirhan. This conversation was recorded on 16.06.2020.
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2020 by Ella Finer
The Heart in Her Mouth is a volume of three correlating essays written with Sheila Chukwulozie, Vibeke Mascini and Urok Shirhan.
https://infrasonica.org/en/sonic-realism-wave-3/the-heart-in-her-mouth-en
Please message for PDF
http://www.almanacprojects.com/public-programme/ella-finer-burning-house-burning-horse
Translations by Eirini Amanatidou and Gigi Argyropoulou
https://backtalks.city/project/her-moon-is-a-captured-object/
OR
https://errantbodies.org/Free_Berlin/FreeBerlinNo.8.pdf
2000-2019 by Ella Finer
Extract from Far Stretch, E Finer 2018
Extract from Ophelia Composing Herself, 2013.
Papers by Ella Finer
The Heart in Her Mouth is a volume of three correlating essays written with Sheila Chukwulozie, Vibeke Mascini and Urok Shirhan.
https://infrasonica.org/en/sonic-realism-wave-3/the-heart-in-her-mouth-en
Please message for PDF
http://www.almanacprojects.com/public-programme/ella-finer-burning-house-burning-horse
Translations by Eirini Amanatidou and Gigi Argyropoulou
https://backtalks.city/project/her-moon-is-a-captured-object/
OR
https://errantbodies.org/Free_Berlin/FreeBerlinNo.8.pdf
Extract from Far Stretch, E Finer 2018
Extract from Ophelia Composing Herself, 2013.