A bit about the evolution of my work on women’s labor in electronics assembly:
My current work situates women’s labor in electronics assembly in the context of the history of electronic music and audio. This body of research started as an exam bibliography for a certificate offered by the Institute for Research on Women, Gender, and Sexuality at Columbia University. My certificate work was advised by Professor of music Ellie Hisama and Professor of sociology and gender studies and Dean of Social Science Alondra Nelson. Here is the bibliography for my IRWGS exam on electronic music and women’s factory labor.
Then, I presented a conference paper on women’s labor in electronics assembly at the first installment of the now-annual Women in Sound / Women on Sound symposium in 2015. The abstract is here. On a panel with British live-coders Shelly Knotts and Joanne Armitage.
I presented my second paper on women’s labor in electronics assembly at the 2016 Yale Graduate Music Symposium organized around the theme Sound Limits: Music and its Borders and keynoted by Columbia University Professor of Ethnomusicology Ana María Ochoa. My presentation was programmed as part of the opening panel on Gendered Work. The abstract is here.
In August 2017, I published an introductory article on the topic in Organised Sound, titled “‘Nimble Fingers’ in Electronic Music: Rethinking Sound through Neocolonial Labour.” This piece basically suggests several ways of bringing the topic of gendered labor in electronics assembly into the writing of music and audio history.
I am now preparing a book chapter related to the topic.