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VPA Abstracts 14-15 February 2013, University of Technology, Sydney PROGRAM Under the auspices of: With the support of: ABSTRACTS SESSION 1 Diane Hughes (Macquarie University, Sydney) – Imperfect Perfection: The Technological Processing of Vocal Artistry. This paper addresses technological processing of the contemporary singing voice in live and recorded contexts. While the acoustic instrument is embodied in a singer’s anatomy, physiology and biopsychology, the singing voice in popular culture is typically realised in formats that can be far removed from the singer. Technological applications facilitate the embodied instrument to be transformed into electrical signal that can then be manipulated and altered with creative and/or purposeful intent. Producers, engineers, equipment, software and treatments may significantly influence any resultant vocal aesthetic. By analysing the perspectives of singer and industry professionals, this research identifies the impact of technological processing on the grain (Barthes, 1978) of the singing voice. The ways in which the singers shape and identify their unique vocal sound is detailed, and the emergent influencers and influences on contemporary vocal artistry are discussed. In industries where pervasive technologies are applied to the singing voice, perfected vocal aesthetics are typical. Processing therefore has the potential to undermine and devalue the inherent artistry of the acoustic instrument while contemporaneously having the capability to facilitate creative and artistic intent. While technological processing essentially focuses on the ways in which the resultant vocal sound is conceptualised sonically, the dichotomy between creative or corrective processing intent reveals that conceptualisation is developed, maintained and mediated in a variety of contexts. These contexts, together with the prevalence of perfected recorded performance, provide distinct challenges for singers intent on maintaining artistic integrity. Sarah Keith (Macquarie University, Sydney) – Perfect Star, Perfect Style: Vocal Production in J-pop. This paper examines the creative implications of technological processing of the voice with regard to normative modes of performance. Vocal production, in an acoustic context, is subject to a range of stylistic and timbral inflections by the vocalist. Once recorded, the voice can additionally be treated with multiple digital effects which change sonic aspects including loudness and frequency, pitch/contour, formants, temporal features, and so on. Substantial digital processing of the recorded voice results in an artefact which is effectively unperformable. This complicates conventional vocal aesthetics, where the skill of the performer is central. As a case study, this paper examines how the Japanese group Perfume, and the singer Kyary Pamyu Pamyu, operate as performers/artists whose voices are subject to considerable digital treatment. Perfume (2001-) is a three-member female electro-pop group with some success outside japan; Kyary Pamyu Pamyu (2011-) is a model and singer whose music videos have gathered considerable attention online. I aim to discuss how autotune, and other methods of digitally manipulating the pitch and timbre of the voice, are employed as a (technologically-aided) stylistic affectation, used with the intent of developing a performative persona. This paper also examines how extreme vocal processing implicitly questions the ability to perform live as necessary part of an artist’s skill. These distinctions between art and artifice, and performance and replication, are not static but are open to debate. Yuji Sone (Macquarie University, Sydney) – Monstrous Voice: Japanese Virtual Diva, Hatsune Miku. This paper examines the singing performances of the Vocaloid 2 Hatsune Miku in Japan, commercially produced software that combines synthesised singing with an illustrated girl character as the singer. Users of this software create desktop song performances, and post them onto the Nico Nico Dōga, a popular video- sharing site in japan, like YouTube. Unlike YouTube, though, viewers can insert comments on the video clips they are viewing, creating a sense of ‘live’ participation. This creation and posting of videos of the singing Hatsune Miku immediately became an Internet sensation, resulting in a wide range of content derivatives in the form of illustrations, animation, games, and 3D figures. There have even been successful ‘live’ performances featuring the projection of an animated Hatsune Miku. The popularity of Hatsune Miku in Japan has been discussed as due to a complex matrix of social and cultural factors. Hatsune Miku has been especially popular with otaku (male nerd or geek) culture. The otaku fans of Hatsune Miku manipulate their virtual divas and consume each other’s creations. The Hatsune Miku phenomenon has also been criticised in relation to the Pygmalion myth. This paper discusses how Hatsune Miku performances create their effects through a complex interaction of voice, sound, image and words within the context of otaku culture. With reference to ‘the grain of the voice’ (Barthes) and the ‘abject’ (Kristeva), I aim to explain the affective force of Hatsune Miku’s voice performance across media platforms, as it exceeds the terms of current discussions in multimedia performance. It is simultaneously song and noise, semiotic and phenomenological, sexy and monstrous. SESSION 2 Gregoria Manzin (The University of Melbourne) – Penelope's Voice: Unspinning Women's Stories. In her 2003 book For More Than One Voice: Toward a Philosophy of Vocal Expression Adriana Cavarero observes how the pole of vocality has been traditionally read as standing in opposition to the pole of reason and the corresponding realm of philosophy. Cavarero links this initial observation to a critique of the patriarchal system which identifies the corporal and physical sphere with womanhood, and the rational sphere with manhood. In her analysis, Cavarero refers to Italo Calvino’s ‘A King Listens’ (from the collection Under the Jaguar Sun), thus effectively including literature in her discussion of how vocality and womanhood have been excluded from the dominant patriarchal discourse. Italo Calvino’s story is not an isolated incident: literature offers many examples in which female voices are portrayed as stemming from a marginal space. But moving from the classics (such as Ovid’s Heroides) to contemporary literature (Christa Wolf’s Medea and Dacia Maraini’s Voices, for instance), the notion of the female voice traverses a liminal phase where the margin becomes a space of resistance, and women’s discourse appears therefore as a political act in its Arendtian understanding. Cavarero herself authored an essay titled In Spite of Plato which seeks to redeem four women of the classic literary tradition from the marginal (and marginalised) space to which they had been condemned. By referring to the above-mentioned works by Cavarero, this paper first introduces the Italian philosopher’s views on vocality and womanhood. Secondly, it links Cavarero’s argument to literary works which have placed woman and voice at centre stage with the intention of rewriting the dominant patriarchal discourse. Jim Macnamara (University of Technology, Sydney) – The Work, Politics and Architecture of Listening in Organisations: The Missing Links of Citizens’ Voices. Voice is widely recognised in democratic political theory, social theory, cultural studies and in more than 600 communication theories (Bryant & Miron 2004) as vital and integral to the functioning of society – indeed, as John Dewey said, society largely is communication (1916, p5). But, in much literature, voice continues to be perceived predominantly as speaking, either verbally or through texts. for voice to matter, as Couldry (2010) says it must, speakers and texts need to have listeners who give attention and recognition, engage in interpretation to try to understand, and ideally respond in some way (Bickford 1996; Honneth 2007; Husband 1996, 2000). While studies, such as those of Couldry (2009), Crawford (2009), Dreher (2009), O’Donnell (2009) and penman and Turnbull (2012) recently in relation to participatory democracy have recognised listening as part of voice that matters, studies of listening have rarely turned their attention to organisations. In institutionalised neoliberal democratic societies, citizens need to interact with an array governmental organisations, corporations and non-government organisations (NGOs) – and vice versa. But studies of election campaigns, online public consultation by government agencies, and organisational use of social media allegedly for ‘engagement’ show that organisations – public and private – rarely listen. Research reported in this paper illustrates that, while most organisations have a substantial ‘architecture for speaking’ and do considerable work to disseminate and amplify their voice, they do not do the work of listening or have an architecture of listening. The need for and composition of such work and architecture is outlined in this paper, based on research into organisational and political use of social media. Jonathan Marshall (University of Technology, Sydney) – Giving Voice is not Enough: Routine Failures of Communication in Information Society. It often seems to be alleged that the information society gives voice to the repressed, and that giving voice enables a solution to political problems. However, voice does not equal understanding. In a trivial manner, if people begin speaking to each
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