Leaky Transmissions: (Im)material cultures of planetary indebtedness

本项目以当代考古学中的“当代考古学”命题为手段，探讨当代艺术领域知识与物质文化的共同创造。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、运动图像、展览和干预。通过在现场工作，我的目标是让管理埃塞克斯黑水河口的多方面影响体验化，突出当前关于能源生产的论述和居住在河口的默契知识形式。我的论文将运用理论和实践来回答以下问题：1)嵌入的、特定于地点的当代艺术实践如何通过创新联合制作和合作实地工作来吸引不同的社区？2)如何才能提供一个批判性的框架，既承认当地，又延伸到相关景观之外，使复杂的采掘结构的(Im)物质文化变得有形？我的建议采用了当代考古学的一个关键命题--当代考古学--来询问当代艺术领域知识和物质文化的共同生产。该项目为艺术领域的讨论贡献了新的和相关的知识，要求实践者超越学术理论，寻找新的方法来参与和影响特定地点的背景。它在不同学科的交叉点运作，每个学科都照亮了另一个学科。首先，我将离开‘现在的考古学’。(哈里森。2016)这一术语代表了个人和集体政治行动能够--也必须--设想更可持续的新的未来的时间立场。第二，我会提出“因地制宜”的概念。(利帕德)(1995)源于利帕德对“地点特定性”--“地点特定性”价值的重新思考，它融合了超越地形的人文、经济和历史力量。通过目前的考古，特定地点的田野工作促进了艺术家、考古学家和地点的独特合作，突出了当代艺术中的多学科方法如何通过联合创作吸引不同的社区。现有的艺术/策展学术研究核电生产的地理/历史，(Grove-White。2014年，赫斯特。2015年)，这一跨学科框架考虑了当代和未来的社会物质实践，使我的博士研究有别于这两个学科的现有工作。由于考古学的严谨性在艺术田野工作中没有得到充分的体现，所以试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、拟议的核项目和离网的奥索纳社区的所在地。布拉德韦尔核电站坐落在一个具有不同生态和社会历史的特殊科学名胜区(SSSI)中间。我曾在埃塞克斯生活过，并与其他人广泛合作，进行针对特定地点的研究，我的项目将开发参与河口全球纠葛的方法；这种杂乱无章的嵌入式战略有可能创造出超越国家/企业利益的关于土地使用和能源生产的讨论和行动的空间。埃塞克斯的策展人沃伦·哈珀将委托我创作新作品，这是我广泛研究的重要组成部分。哈珀的博士学位植根于使用新兴的策展方法来研究核景观，重点是社区和技术。

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.