Tell us your thoughts: ‘How can we be more curious?’

Thank you for coming to the New Emergences event in TodaysArts 2016.
We would be delighted to extend our discussions by asking you

How can we be more curious?

Would you like to share your stories, thoughts, and experiences relevant to the topic? Also, do you have any questions that you would like to ask us and/or to each other? We would very much like to hear from you any suggestions that could be considered for our future events. How useful, or revealing was it, to discuss these particular issues, and what were your overall impressions and thoughts? Also, it would be fantastic to hear the reasons for why you chose to attend our event. We will respect your wishes for anonymity, unless you say otherwise.

We also hope to have made you more curious, and if you wish to discuss further ‘here’ in New Emergences, please do so by leaving your comment(s) below this post.

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13 thoughts on “Tell us your thoughts: ‘How can we be more curious?’

  1. Hi Semay, Anne, Mariëtte and others,

    Thank you so much for the very nice event today!

    Ruth Timmermans asked for more “numbers” on gender in the music world.

    As far as I know there are some numbers here and there, scattered but perhaps useful.

    First of all, Ruth already mentioned Female Pressure, that has several Facts Surveys:
    https://femalepressure.wordpress.com/facts-survey2015/facts-2015-statement/

    This is an interesting website on a gender think tank in Darmstadt, that “gathered a simple set of metrics charting (admittedly, and apologetically, binary) gender breakdowns of a few key areas: female/male ratios of compositions performed, lectures given, participants attended, and prizes won, each year of the festival.”
    https://griddarmstadt.wordpress.com/about/

    William Osborne collected numbers on gender bias in classical orchestras and female composition teachers.
    Orchestras:
    http://www.osborne-conant.org/orch2009.htm
    http://www.osborne-conant.org/orch-uk.htm
    http://www.osborne-conant.org/vpo-update-2015.htm
    http://www.osborne-conant.org/prophets.htm
    http://www.osborne-conant.org/excuse.htm
    Much more articles on the Wiener Philharmoniker: http://www.osborne-conant.org/articles.htm
    Composition teachers:
    http://www.osborne-conant.org/Profs.htm
    A review on sexism in Ars Electronica 2000:
    http://www.osborne-conant.org/ars.htm

    I collected some data on gender in electronic music in my article “Bodies of evidence, singing cyborgs and other gender issues in electrovocal music” in Organised Sound 8/1, 2003; a revised version (2013) of this article is available for free on http://dare.uva.nl/record/1/400268 (the “numbers” part is in Chapter 2).

    Recently, I wrote an article on gender in glitch music and included some numbers.
    This article appeared last June in Contemporary Music Review 35/1, a thematic issue on gender and digital musics and sound art, edited by Georgina Born and Kyle Devine:
    http://www.tandfonline.com/toc/gcmr20/current
    For those interested, I can give for free some digital copies of my own article (contact me).

    CMR 35/1 might be interesting for you in other respects as well, it includes the following articles:
    Georgina Born & Kyle Devine, “Gender, Creativity and Education in Digital Musics and Sound Art”
    Simon Emmerson, “EMAS and Sonic Arts Network (1979–2004): Gender, Governance, Policies, Practice”
    Cathy Lane, “Sound::Gender::Feminism::Activism: Research and Challenges to the Orthodoxies of Sound Arts”
    John Richards, “Shifting Gender in Electronic Music: DIY and Maker Communities”
    Freida Abtan, “Where Is She? Finding the Women in Electronic Music Culture”
    Simon Waters, “Engendering Hope: A Person-Centred Reflection on Technology and Gender”
    Holly Ingleton, “Recalibrating Fundamentals of Discipline and Desire Through the Automatic Music Tent”
    Marie Thompson, “Feminised Noise and the ‘Dotted Line’ of Sonic Experimentalism”
    Hannah Bosma, “Gender and Technological Failures in Glitch Music”
    Tami Gadir, “Resistance or Reiteration? Rethinking Gender in DJ Cultures”
    Christabel Stirling, “‘Beyond the Dance Floor’? Gendered Publics and Creative Practices in Electronic Dance Music”
    Sally-Jane Norman, “Mothers of Invention: An Afterword”
    http://www.tandfonline.com/toc/gcmr20/current
    This issue can be accessed for free via university libraries.

    Hope this helps…

    All the best,

    Hannah

    Liked by 2 people

  2. Compliments to Ruth Timmermans for offering us the balance between personal stories packed with frustrations and passion for change and the hard facts of numbers. As Ruth underlined, in the field of electronic music, and music in general, we need more numbers to deepen our discussions and help us build strategies for the future.

    Thanks Hannah for keeping us informed.

    It’s important that we meet in flesh and blood to discuss these issues. Each time has been significantly different where new ways of continuing the cause have emerged.

    When is the next time?

    Anne

    Liked by 2 people

    1. Dear Anne,
      Thank you very much for your contribution as the panel and for your support on the group -always-!! We are planning for the next event, don’t have the exact date yet, but will inform you as soon as we have one!
      Ji

      Liked by 1 person

  3. Kate Moore – composer based in Netherlands says:
    “I’d like to raise an issue about the representation of female composers to receive a commission from FPK. I have a disturbing statistic from FPK in that the round which has just been released has commissioned only one female composer out of 46 applicants, from this pool there were only 3 applications submitted for female composers. You are for sure aware that it is not the composers who apply but festivals and ensembles etc which indicates that female composers are not being invited to a commission for festivals and ensembles and the couple that are being invited are not being awarded a commission fee! I asked Ron if they were being awarded in proportion to the number of females to apply. I have no answer on this. I would like to find out if this is the case. As a counter to the applications for a commission, many women were awarded in the section for werkbeurs. Aside from this being a lot less money than the commission, the composers are allowed to apply for themselves which indicates that there are a lot of high quality female composers who are active and creative on the scene. In recent years there has been so much to promote women composers in the States, Australia and Britain which has proven to have had a positive outcome. We need to tackle this in The Netherlands on a national, maybe even international level. A lot has to be done to promote women as music creators so that ensembles and festivals invest in their creative voice and encourage diversity and gender equality.”

    Like

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