An anagram of "heroines", the title "Her Noise" was chosen by
co-curator by Lina Džuverovic, to mesh activism with fandom
creating a horizontal history in which women involved in sound
exploration could make connections with each other. Džuverovic, who
co-curated the first of the Her Noise exhibitions in 2005 with
Anne Hilde Neset decided to do it again and DIVA went
along for the ride.
Seven years on, at the recent Her Noise symposium Džuverovic
reaffirmed the importance of building on this sonic herstory,
bringing together a diverse group of academics, curators, artists
and musicians with the intention of exploring the intersections of
sound art and feminism.
Over the course of the day the four themed segments and their
subsequent Q&As provided a rich context for the Her Noise
archive and its associated events.
"Situating Her Noise" was a rousing history of the roots of the
original exhibition and the journeys of the ensuing archive
(currently housed in the Archives & Special Collections at the
London College of Communication); "Affinities, Networks and
Heroines" explored feminist histories of art and music, including
the ways in which archives can be used to re-examine the past;
"Vocal Folds" comprised 3 very different presentations by
practitioners of vocal sound art; and "Dissonant Futures" sought to
examine women's varied "uses and abuses" of technology. This last
segment was perhaps the most exhilarating of the day, providing an
opportunity to enjoy the genius of experimental composer Kaffe
Matthews, and her 3D composition made with hammerhead sharks and
their night time journeys through the sea.
Judging by the level of engagement by members of the
audience, it was clear that many people attending the symposium
were actively involved in sound art themselves, proving that in its
aim to develop networks and communities, Her Noise could only be
seen as a triumph.