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One of a cluster of three articles following a conference panel on the Her Noise research and exhibition project (2005 - present, curated by Lina Dzuverovic and Anne Hilde Neset) in 2013. The panel took place at the 'Women in Music' Conference in New York in 2013.  This article focuses on the feminist voice of the Her Noise project, aiming to analyze how it was shaped by the context in which the project took place. Her Noise began in 2001 as a multidisciplinary research project about the gender gap in experimental music and sound. The terms “experimental music,” “sound,” and “boundaries of inclusion” were not clearly articulated at the outset of the project and continued to shift throughout its development. The fifteen years since the inception of Her Noise and the afterlife of the project and its numerous iterations have allowed me to think about the curatorial voice of the project in a new way. This article is an attempt to articulate those thoughts and to respond to a question posed by researcher and artist Holly Ingleton in 2012. Her question of how the Her Noise project was feminist and "what kinds of feminist approaches might have been instrumental to its development” prompted this response.

Twice Erased: The Silencing of Feminisms in Her Noise