Feminism in music, the arts, and academia. These are the key themes that Osman was talking about during this lecture. Although, oddly enough, the thing that stood out to me the most in this lecture was her decision to do a pre-recorded lecture, despite her being able to attend ‘in person’ as it were. This enabled her to display the lecture as a work of art in its own right, which I found fascinating. The possibilities that she explored with this simple decision were amazingly well executed, and I found myself fully attentive, rapt with anticipation for the entirety of the afternoon.

Pieces that she talked about faded in and out of the background, and her voice was sometimes eclipsed her works. Time was very loose, she would chop and change her voice recording to merge better with some pieces, and the lecture felt more akin to a well orchestrated performance rather than just a pre-recorded, one sided conversation. Although, it still felt decidedly human – she would stumble over words, forget the names of people and repeat some things. I’m a big fan of human imperfections in art, and leaving in all of these speech inaccuracies made the lecture feel slightly more interactive, and significantly easier to follow. The movement of the lecture, the development and the progression all felt very good as well. There were moments that soared with quite chaotic sound works overlapping, but much of it was her voice, unaccompanied. It felt like the work of a very experienced dubbing engineer, and borrowed concepts from plenty of musical/sonic heritage before it.

Overall, a very enjoyable lecture. I took plenty of concepts from it, both from a practical, sound related angle and also from a political, feminist angle. I will be implementing some of these ideas into future works of my own, and will endeavor to turn the mundane into something rich and exciting more often.