Writings and interviews from Tara Rodgers on electronic music and sound history, culture, and practice.
Pink Noises: Women on Electronic Music and Sound
Duke University Press (2010). Twenty-four interviews with women who are electronic musicians, DJs, sound artists; with a critical introduction on gender and audio cultures.
In The Routledge Companion to Media Studies and Digital Humanities, edited by Jentery Sayers (New York: Routledge, 2018).
Toward a Feminist Epistemology of Sound: Refiguring Waves in Audio-Technical Discourse
In Engaging the World: Thinking After Irigaray, edited by Mary Rawlinson, SUNY Press (2016).
In Feminist Media Histories, 1:4 (Fall 2015), special issue: Women and Soundwork, edited by Michele Hilmes and Kate Lacey.
In Leonardo Music Journal 25 (2015), special issue: The Politics of Sonic Art. (Adapted from a keynote lecture at the 2nd Sound :: Gender :: Feminism :: Activism conference, London College of Communication, October 2014.)
In Keywords in Sound, edited by David Novak and Matt Sakakeeny, Duke University Press (2015).
“What, for me, constitutes life in a sound?”: Electronic Sounds as Lively and Differentiated Individuals (PDF)
In American Quarterly 63:3 (September 2011), special issue: Sound Clash: Listening to American Studies, edited by Kara Keeling and Josh Kun: 509-30.
In Sounding Out! The Sound Studies Blog, May 30, 2011.
Toward a Feminist Historiography of Electronic Music
In The Sound Studies Reader, edited by Jonathan Sterne, Routledge (2012), reprinted from the introduction to Pink Noises.
The Poetics of Signal Processing
(Co-authored with Jonathan Sterne.) In differences: A Journal of Feminist Cultural Studies 22:3 (Fall 2011), special issue: The Sense of Sound, edited by Rey Chow and James Steintrager, 31-53.
– Also published in German translation: “Poetik der Signalverarbeitung,” Zeitschrift für Medienwissenschaft (Media Studies Journal) 5:2 (2011).
On the Process and Aesthetics of Sampling in Electronic Music Production
In Organised Sound 8:3 (2003), 313-20.
– Reprinted in Electronica, Dance and Club Music, edited by Mark J. Butler, The Library of Essays on Popular Music series (Ashgate, 2012); and published in Swedish translation (by Jim Jakobsson) in Mer än Ljud/More Than Sound, edited by Sara Arrhenius and Magnus Bergh (Stockholm: Albert Bonniers Förlag, 2013).
Interview with Tara Rodgers by Ted Coffey (2019).
Artist case study in Andrew Hugill, The Digital Musician, 3rd ed. (Routledge, 2018).
Interview with Analog Tara (2018).
Interview with Tara Rodgers: Building Curriculum Diversity: Pink Noises (2017).
Media Crafting: Tara Rodgers’s Collection of Mini Fiber Arts Audio Gear (2017).
“Pourquoi la techno est-elle si sexiste?” (French translation), Issue 204 (2017).
Tara Rodgers: Patterns of Movement pre-show interview (2012).
Digital Art/Culture/Technology “Process” issue (2007).
Stamp Gallery, University of Maryland (2012).
Fembot Collective: Gender, New Media, and Technology blog (2012).
In Canadian Journal of Communication 37:1 (2012), special issue: Media Arts Revisited, edited by Kim Sawchuk, 155-61.
On “Places I’ve Lived and Traveled To, 1973-2005”
In Tools of Mind, special issue of FO A RM curated by Matt Marble (2007).
In Leonardo Electronic Almanac 14:7-8 (2006), special issue: Wild Nature and the Digital Life, edited by Sue Thomas and Dene Grigar. On a quad sound installation, written in SuperCollider, inspired by behaviors of migrating butterflies.
Editing & Curating
Guest curator, Her Noise Archive (2012).
Guest editor, CD with introduction to accompany a special issue on improvisation and technology, Leonardo Music Journal 20 (2010).
Sound and the Social Organization of Space
Guest curator, special section with introduction, featuring artist statements from Carrie Bodle, Beth Coleman & Howard Goldkrand, Chris Kubick & Anne Walsh, Trevor Paglen, and Matt Volla, Leonardo Music Journal 16 (2006).