For the last three years, Louise Marshall has been an AHRC-funded doctoral student at CRiSAP, London College of Communication, University of the Arts London, where she has focused on the work of a select group of female experimental musicians as a way of considering their strategic compositional practices as a way of redressing what the composer Annea Lockwood has identified as “the black hole of no info” (Tara Rodgers 2010: 2) in respect of the musicological neglect of so much female-originated work. Working closely with the Her Noise archive which is held at the UAL Archive at the LCC, she uses methodologies drawn from oral history, feminism, sound studies, and psychoanalysis, Louise is interested in building a theory of listening that extends Pauline Oliveros’s practice of Deep Listening into new sonic articulations.
As a music critic writing under the name of Louise Gray, she writes and speaks on experimental and contemporary music for The Wire, New Internationalist, Musicworks, The Quietus, and numerous other publications. https://louisegray.net
Her Noise was created in London in 2001 by curators Anne Hilde Neset and Lina Džuverović as a way of examining music and sound histories in relation to gender, and with the aim of creating an active resource available to scholars, practitioners and other parties interested in these modes of articulation. The Her Noise exhibition in 2005 took place across multiple London galleries gathered international artists together international artists who use sound to investigate social relations, inspire action or uncover hidden soundscapes. The Her Noise Archive was acquired by CRiSAP in 2014 and, since then, has been a launchpad for research and activism. These include Her Noise’s Feminisms and the Sonic symposium at Tate Modern in May 2012 and CRiSAP’s biannual Sound: Gender; Feminism: Activism conference. http://hernoise.org