seen from Russia
seen from Spain
seen from United States
seen from United States
seen from Germany
seen from Taiwan
seen from United States
seen from Malaysia
seen from Türkiye
seen from United States
seen from United States
seen from United States
seen from Nigeria
seen from Malaysia
seen from Belarus
seen from United States
seen from China
seen from United States
seen from United States
seen from Netherlands
...rather than smooth over an unstable system in crisis, this voice and its failure to be at all convincingly organic, indexes the tools of its production into each of its intonations.
Nik Rawlings, Castles in the Sky: Clouds, Voices & the Aural Dispersal of the Body Post Internet, p.25
...a voice that is so thin it no longer obscures the digital architectures beneath it.
Nik Rawlings, Castles in the Sky: Clouds, Voices & the Aural Dispersal of the Body Post Internet, p.25
...more Vocaloid, than human.
Nik Rawlings, Castles in the Sky: Clouds, Voices & the Aural Dispersal of the Body Post Internet, p.25
...a breaking down of the voice, resolving into a new body in a polished collaboration with the synthesized data added by the software.
Nik Rawlings, Castles in the Sky: Clouds, Voices & the Aural Dispersal of the Body Post Internet, p.25
...employs the use of the advanced auto-tuning software Melodyne to smooth out and modulate her voice towards timbres that are closer to a general MIDI saxophone than that of a voice.
Nik Rawlings, Castles in the Sky: Clouds, Voices & the Aural Dispersal of the Body Post Internet, p.25
...(while) she does extend her voice into alternative genders and sonic identities, these identities are untethered from binary gender performances and aural bodies that are identifiably human.... Herndon creates multitudes of sound-objects and timbres that concomitantly can be heard as chattering networks, stuttering cyborg voices and breaths, or impossibly multi-sexed bodies.
Nik Rawlings, Castles in the Sky: Clouds, Voices & the Aural Dispersal of the Body Post Internet, p.20
There is no voice without a body, but yet again this relation is full of pitfalls: it seems that the voice pertains to the wrong body, or doesn’t fit the body at all, or disjoints the body from which it emanates.
Mladen Dolar, quoted by Nik Rawlings, Castles in the Sky: Clouds, Voices & the Aural Dispersal of the Body Post Internet, p.7
