Uploaded July 2019 | Updated September 2026, 3 weeks ago
Ain’t I a Woman (?/!): Audio Frequencies is the reimagining of a collection of poetry that speaks to the plight of African-American women as well as personal narratives that archive the journey I am undergoing as a liberated Black woman. Interwoven with sound, music and voice, Ain’t I a Woman (?/!): Audio Frequencies is an experience rather than an ordinary audio book. Born out of the realm of performance art and poetry, spilling over into experimental sound art is the sojourn of this project.
Nicole Goodwin is the author of Warcries, as well as the 2018-2019 Franklin Furnace Fund Recipient, the 2018 Ragdale Alice Judson Hayes Fellowship Recipient, 2017 EMERGENYC Hemispheric Institute Fellow as well as the 2013- 2014 Queer Art Mentorship Queer Art Literary Fellow. She published the articles “Talking with My Daughter…” and “Why is this Happening in Your Life…” in the New York Times’ parent blog, Motherlode. Additionally, her work ‘”Desert Flowers” was shortlisted and selected for performance by the Women’s Playwriting International Conference in Cape Town, South Africa.
Collaborators: Kevin Ramsay
Facebook: facebook.com/ngoodwin07
Twitter: @LSGoldwyn
Building 10A, Nolan Park Governors Island
Edited by Scott Tatsuta
Ain’t I a Woman (?/!): Audio Frequencies is the reimagining of a collection of poetry that speaks to the plight of African-American women as well as personal narratives that archive the journey I am undergoing as a liberated Black woman. Interwoven with sound, music and voice, Ain’t I a Woman (?/!): Audio Frequencies is an experience rather than an ordinary audio book. Born out of the realm of performance art and poetry, spilling over into experimental sound art is the sojourn of this project.
Nicole Goodwin is the author of Warcries, as well as the 2018-2019 Franklin Furnace Fund Recipient, the 2018 Ragdale Alice Judson Hayes Fellowship Recipient, 2017 EMERGENYC Hemispheric Institute Fellow as well as the 2013- 2014 Queer Art Mentorship Queer Art Literary Fellow. She published the articles “Talking with My Daughter…” and “Why is this Happening in Your Life…” in the New York Times’ parent blog, Motherlode. Additionally, her work ‘”Desert Flowers” was shortlisted and selected for performance by the Women’s Playwriting International Conference in Cape Town, South Africa.
Collaborators: Kevin Ramsay
Facebook: facebook.com/ngoodwin07
Twitter: @LSGoldwyn
Building 10A, Nolan Park Governors Island
Edited by Scott Tatsuta







![NYU IRCAM Performance by Hanae Azuma (excerpts)
Harvestworks is pleased to participate in the 2022 IRCAM-NYU Forum. The Fall 2022 IRCAM Forum was held at New York University, and hosted by the NYU Music Technology and Music Theory & Composition programs from September 30 to October 3, 2022.
This event shows new compositions created during the Harvestworks Workspace Residency program by Hanae Azuma. The works are for Taiko (a Japanese drum) and computer with four channel speakers. Featuring Yoko Nakahashi.
Harvestworks Art and Technology Building 10a, Nolan Park, Governors Island.
ARTIST STATEMENT
This performance features a brand new work for two Japanese drums, - Taiko and Shime-daiko - and computer with four channel speakers. The work contains sounds that I recorded during my residency program in NYC. During the performance, I also improvise on the Taiko, which was an experimental experience for myself! As the concert is outdoors, its a great opportunity to consider how the sounds from the multichannel speakers affect people, and how the sounds of the environment affect the perception of the work. I also present two other works: Watercolor Painting and Where Am I in the Universe, which were originally written for 16 channel speakers, but re-worked to four for this event.
HANAE AZUMA is a composer from Tokyo, Japan, and completed both her BM and MM at Tokyo University of the Arts, Department of Musical Creativity and the Environment. During her studies in Japan, she mainly concentrated on the relationship between music and other visual/performing arts, such as dance and film, and has been collaborating with contemporary dancers on a variety of projects as a composer. She also completed her MM in music technology at New York University in 2014. Hanaes recent interest is spacial sound, and she has been busy creating works for multichannel surround sound. Her works have been presented at music festivals and concerts in the United States, Japan, Korea and Taiwan. She is currently an academic fellow at Acoustic Lab, Tokyo University of the Arts.
YOKO NAKAHASHI (Taiko: Japanese drum)
Known by her buddhist name, Laiko, Yoko Nakahashi is an ASCAP award winning contemporary composer; taiko artist and certified Osuwa Daiko instructor. She has composed and performed at a variety of events and occasions, and performs and teaches internationally as a taiko drummer. Yoko has featured on WPIX, NY1 News, and Fox5, among others, and has performed at venues such as The Shed, UN, Bowery Ballroom and The Little Island. Yoko was a workshop leader at the 2017 and 2019 North American Taiko Conference, and at the 2020 East Coast Taiko Conference. She builds taikos to support collegiate and emerging taiko groups in the need of drums and necessary equipment.
ABOUT THE IRCAM-NYU WORKSPACE RESIDENCIES
The IRCAM-NYU artist residency program at Harvestworks is a one month opportunity during which, up to four artists, will finish their proposed work in September 2022. The artworks fall within the scope of interaction and sound design focusing on one or more of the following topics: composer/performer/computer interaction, improvisation and collaboration; sonification and generative sound exploration; soundscape [re]sonification, interaction, sensing and sensor networks; and educational tools in interaction and sound design. Artists are given a workspace residency table at Harvestworks for the one-month duration of the residency.
Edited by Eleanor Ridley.
October 1, 2022. NYU IRCAM Performance by Hanae Azuma (excerpts)](https://i.ytimg.com/vi/aOyy4WYNxrk/mqdefault.jpg)

![Womens Labor Performance
A feminist activist project, Women’s Labor repurposes domestic tools to become new musical instruments using embedded technologies, explored in interactive installations, commissioned compositions, and performances. Traditionally relegated to the private sphere, we interrogate domesticity through public engagement.
The first instrument featured in installation/performance is Embedded Iron, based on an early-20th century wooden ironing board and antique iron.
Compositions that will be premiered at this event are Ladan by Niloufar Nourbakhsh and Chelsea Loew and Housework Lock (her) Down by Jocelyn Ho and Margaret Schedel, written for Embedded Irons. Performers: Robert Cosgrove, Dianna Hnatiw, Taylor Long and Alina Tamborini.
• DATE and TIME: September 18, 2021 @ 4 pm. Duration: 30 minutes
• LOCATION: The Workings of Media [art and artists] at the Harvestworks Art and Technology House. Building 10a, Nolan Park, Governors Island
Artist(s):
Jocelyn Ho, creative director with Margaret Schedel, Rob Cosgrove, Melody Loveless, Omkar Bhatt, Matthew Blessing. Commissioning Niloufar Nourbakhsh and Chelsea Loew.
A feminist activist project, Women’s Labor repurposes domestic tools to become new musical instruments. Using embedded technologies, these domestic-tools-turned instruments are explored in interactive installations, commissioned compositions, and performances. Traditionally relegated to the private sphere, we interrogate domesticity through public engagement and performative spectacle.
The new instruments are based on laundering tools that highlight gender performativity through clothing. Thefirst instrument featured in installation/performance is Embedded Iron, based on an early-20th century wooden ironing board and antique iron. Both the public and musicians can “iron” fabrics, including their own pieces of clothing, to make music.
Using spectroscopy and machine learning, the Embedded Iron has a color-sensing ability—‘seeing’ the color of the fabric to play different timbres. The iron’s placement on the XY-axis of the ironing board determines pitch using LIDAR and ultrasonic technology.
The Embedded Iron is an Embedded Acoustic Instrument which means it includes all necessary components for performer interaction, data-mapping, synthesis, and sound generation in a single self-contained body. A Raspberry Pi, speaker and a transducer are attached to the underside of the wooden ironing board acting as a resonator. Because it is not dependent on computers or speakers that are used for other tasks, it gains more agency and identity.
The Embedded Iron installation is made possible in part by funds from the City Artist Corps Grants program, presented by The New York Foundation for the Arts (NYFA) and the New York City Department of Cultural Affairs (DCLA), with support from the Mayor’s Office of Media and Entertainment (MOME) as well as Queens Theatre; UCLA Herb Alpert School of Music Deans Opportunity Fund; and UCLA Library Hugo and Christine Davise Fund for Contemporary Music and the Harvestworks Artist in Residence Program. Womens Labor Performance](https://i.ytimg.com/vi/ahvG4zA_XVs/mqdefault.jpg)
