Leaky Transmissions: (Im)material cultures of planetary indebtedness

泄漏的传输：（Im）行星债务的物质文化

• 批准号: 2387868
• 金额: --
• 依托单位: University College London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2020
• 资助国家: 英国
• 起止时间: 2020 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2387868
• 关键词: Leaky; Transmissions; Im; material; cultures

This project takes the proposition of an 'archaeology of the present' from contemporary archaeology as a means to interrogate the co-production of knowledge and material culture in the field of contemporary art. Through interdisciplinary enquiry, I will produce text, musical composition, place-specific performance, moving-image, exhibitions, and interventions. By working 'in the field', I aim to make experiential the multifaceted influences governing the Blackwater Estuary, Essex, highlighting current discourses of energy production and tacit forms of knowledge that inhabit the Estuary.My thesis will engage theory and practice to answer the following questions:1) How can an embedded, place-specific, contemporary art practice engage diverse communities by innovating co-production and collaborative fieldwork?2) How can an 'archaeology of the present' provide a critical framework that acknowledges the local, while extending beyond the landscapes in question, to make tangible the (im)material culture of complex extractive structures? My proposal takes a key proposition from contemporary archaeology - Archaeology of the Present - to interrogate co-production of knowledge and material culture in the field of contemporary art. Contributing new and relevant knowledge to discussions within the arts, the project demands practitioners look beyond academic theory to find new ways to engage and impact place-specific contexts. It operates at the intersection between disciplines, each illuminating the other. First, I will depart from an 'Archaeology of the Present'. (Harrison. 2016) This term represents the temporal position from which individual and collective political action can - and must - be constructed to envision new and more sustainable futures. Second, I will engage the concept of 'place-specific practice'. (Lippard. 1995) Stemming from Lippard's reconsideration of 'site-specificity' - 'place-specificity' values embeddedness, incorporating human, economic and historical forces beyond topography. Place-specific fieldwork through an archaeology of the present advances a unique collaboration of artist, archaeologist and place, highlighting how multidisciplinary approaches in contemporary art engage diverse communities through co-production.While existing artistic/curatorial scholarship addresses geographies/histories of nuclear power production, (Grove-White. 2014, Hirst. 2015), this interdisciplinary framework considers contemporary and future socio-material practices, making my doctoral research distinct from existing work in either discipline. As archaeological rigour is underrepresented in artistic fieldwork, so experimental fieldwork remains undervalued in archaeology. The Blackwater Estuary is a microcosm of complex histories and ecologies, from heritage to the geopolitics of energy production/consumption/disposal. It is home to one of the UK's first-generation nuclear power stations, proposed nuclear programmes, and the off-grid Othona community. Bradwell Nuclear Power Station sits in the midst of a Site of Special Scientific Interest (SSSI) with diverse ecology and social history. Having lived in Essex and worked extensively with others to produce place-specific research, my project will develop ways to engage the Estuary's global entanglements; such discursive and embedded strategies have potential to create space for discussion and action on land use and energy production, beyond state/corporate interests. Essex-based curator Warren Harper will commission me to produce new work, forming an essential part of my extensive research. Harper's PhD is rooted in engaging emerging curatorial approaches to investigate nuclear landscapes, focusing on communities and technologies.

本项目以当代考古学中的“当代考古学”为命题，探讨当代艺术领域中知识与物质文化的共同生产。通过跨学科的研究，我将制作文本、音乐作品、特定地点的表演、移动图像、展览和干预。通过"实地“工作，我的目标是使经验的多方面的影响，管理的黑水河口，埃塞克斯，突出当前的话语能源生产和隐性形式的知识，居住在河口。我的论文将从事理论和实践回答以下问题：1）如何嵌入式，特定的地方，当代艺术实践参与不同的社区创新合作生产和合作的实地工作？2)“当代考古学”如何提供一个批判性的框架，承认当地，同时超越所讨论的景观，使复杂的采掘结构的（非）物质文化变得有形？我的建议从当代考古学的一个关键命题-现在的考古学-询问知识和物质文化在当代艺术领域的共同生产。贡献新的和相关的知识，在艺术的讨论，该项目要求从业者超越学术理论，找到新的方法来参与和影响特定的地方环境。它在学科之间的交叉点上运作，每个学科都照亮了另一个学科。首先，我将离开一个“考古学的现在”。（哈里森。这个词代表了个人和集体政治行动可以--也必须--被构建以展望新的和更可持续的未来的时间位置。第二，我将提出“具体实践”的概念。（利帕德。1995年）源于Lippard对“地点特异性”-“地点特异性”价值嵌入的重新思考，将人类，经济和历史力量超越地形。通过考古学的地方特定的实地考察，目前推进了艺术家，考古学家和地方的独特合作，突出了当代艺术中的多学科方法如何通过合作生产参与不同的社区。2014年赫斯特2015年），这个跨学科的框架认为当代和未来的社会物质实践，使我的博士研究不同于现有的工作在任何一个学科。正如考古学的严谨性在艺术田野工作中被低估一样，实验性田野工作在考古学中仍然被低估。黑水河口是复杂历史和生态的缩影，从遗产到能源生产/消费/处置的地缘政治。它是英国第一代核电站之一，拟议的核计划和离网Othona社区的所在地。布拉德韦尔核电站坐落在一个具有特殊科学价值的地点（SSSI）中间，具有多样的生态和社会历史。在埃塞克斯生活，并与他人广泛合作，以产生特定地点的研究，我的项目将制定方法，从事河口的全球纠缠;这样的话语和嵌入式战略有可能创造空间的讨论和行动的土地利用和能源生产，超越国家/企业的利益。埃塞克斯的馆长沃伦哈珀将委托我制作新的作品，这是我广泛研究的重要组成部分。哈珀的博士学位植根于参与新兴的策展方法来调查核景观，重点是社区和技术。