A little update…I’m still here but like many I’m taking stock of things. In the meantime, here’s some reading that you might be interested in –
Maryanne Amacher – Petra – The experimental composer’s Petra steps inside a cyberpunk cathedral. by Geeta Dyal
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Bristol in Stereo // Holly Herndon
Published on Apr 25, 2019
Holly Herndon talks about PROTO and not messing up the next internet in Bristol’s live and new music magazine.
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Chipzel has spent a decade making incredible music with Game Boys
“I thought it was super cool and really punk, and really futuristic and weird and nerdy,” she says of discovering the chiptune scene. “I just loved everything about the aesthetic.”
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Sam Liddicott explores the importance of this now forty year old release and Kate Bush as writer, performer and producer.
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‘She made music jump into 3D’: Wendy Carlos, the reclusive synth genius
“She went platinum by plugging Bach into 20th-century machines, and was soon working with Stanley Kubrick. But prejudice around her gender transition pushed Wendy Carlos out of sight”
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Resonance: Angélica Negrón and the Poetics of Musical Automata (November 2020) – I Care If You Listen
“The world is fortunate to have artists like Angélica Negrón who continually expand what is possible in the arts, and thus the human experience.” Read more from Sun Yung Shin on ICIYL!
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Microphones and Loudspeakers as Musical Instruments
Cathy van Eck
Cathy Van Eck – Between Air and Electricity is open access now, free and downloadable per chapter, you’ll find it here:
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There’s a memorial aspect to acousmatic sounds that can lead towards a conceptual end-point usually avoided by Schaefferian humanism: the severing of the sound from its source is a kind of death. Echos + is an in-depth exploration of their afterlife, the composer turned into a caretaker (without the apocalyptic overtones of the famous project of the same name) dedicated to the consideration of sounds’ new state. Like a written document, the recording marks an aural element’s transition from life into its other, a technological aid that turns preservation into an art of re-signification. To care for these sounds in death is not to simply reproduce them, nor is it to circumscribe them in a narrative about mourning for the loss of a certain world, but to help reconfiguretheir meaning in a context that is no longer their own.
Feminatronic 
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