Sound as Cultural Artefact (CDA)

研究问题：创造性的从业者如何与档案录音合作，创造出新的、批判性的、富有想象力的作品，与唱片法的殖民起源相协调，让观众与过去互动？以声音为基础的展览过度关注当代声音艺术和线性的、以西方为中心的捕捉技术的不批判历史（Campt, 2017）。与此同时，对档案录音创造性参与的研究优先考虑了通过采样、混音和拼贴创作的作品（Lobley, 2020; Foo 2020）。我们需要重新构建这样的作品，超越艺术家将声音作为内容或形式的使用，转向拥抱富有想象力、思辨性和主观的叙事，批判性地与过去的复杂性作努力，并让展览观众体验它的连续性和“同一性”（Agawu, 2012）。我将用于跟踪、编目和约束的殖民地文件存储库（Campt, 2017）和生成资源（Osthoff, 2009）之间的档案概念化，在这里，过去为创造未来的想象提供了可能性（Basu和Modest， 2015）。档案艺术实践为档案带来了意义创造过程（Carbone, 2016），并揭示了艺术和档案如何成为社会、物质和文化上的记忆形式（Carbone, 2020）。我希望通过以下方式为该项目做出贡献：a)通过研究艺术家与档案的合作，确定创意从业者如何通过超越声音作为无问题的铭文，与社会和物质维度一起工作，使录音中纠缠的地点、人物、实践、叙事和原始材料能够被听到，从而帮助我们重新构建对留声法历史的理解（Roy, 2021）。b)根据档案录音“超越其客体地位”的命题来识别艺术家（Hoffmann, 2020）——对我来说，这种意义的过剩邀请艺术参与，而不是学术参与。c)绘制可能有助于展览并为我的研究提供信息的档案收藏。d)塑造展览的主题，并围绕主题与NC团队和艺术家建立对话。根据最近在声音研究方面的工作，我提出以下建议：-留声机“恢复死人的声音”的力量(Sterne 2003)-留声机在英国的接受情况以及它如何构建国家身份(Western 2016)-以印度为紫胶生产的主要供应商的紫胶唱片生产的跨国政治和物质生态（Denning 2015; Devine 2019）指示性论文时间表[与项目时间表一起]1年：文献综述；在线研究涉及历史录音的近期创意项目；实地采访策展人、艺术家和已建立的艺术家与档案声音合作项目的利益相关者[mus<s:1> du quai Branly, Fonoteca Nacional de Mexico, Tobar and Dualchais，大英图书馆]。结果：一系列论文案例研究和框架/议程，以解决未实现的潜力，为展览提供信息。第2年：发展关键框架，方法，参考书目；与团队合作开发关键的策展方法，为展览主题做出贡献；领导一次公开聆听会议，以档案录音开始实验工作。第三年：与公众及艺术家举行第二轮聆听会（如有可能，一起举行）；合作发展新的委员会和现场展览节目；记录艺术家围绕委托的对话；开发更广泛的编程主题。在团队的指导下完成展览工作。四年级：写作

Research question: how can creative practitioners engage with archival sound recordings to create new, critical, imaginative work attuned to phonography's colonial origins that engage audiences with the past?Sound-based exhibitions have over-focused on contemporary sound art and linear, western-centric uncritical histories of technologies of capture (Campt, 2017). Meanwhile, research on creative engagement with archival recordings has prioritised work created through sampling, remixing and collaging (Lobley, 2020; Foo 2020). We need to reframe such work beyond artists' use of sound as content or form towards embracing imaginative, speculative and subjective narratives that critically grapple with the past's complexity and allow exhibition audiences to experience its continuity and 'sameness' (Agawu, 2012).I conceptualise the archive between a colonial repository of documents produced to track, catalogue and constrain (Campt, 2017) and a generative resource (Osthoff, 2009), where the past affords possibilities for the creation of future imaginaries (Basu and Modest, 2015). Archival art practices bring meaning making processes to the archive (Carbone, 2016) and reveal how art and the archive are socially,materially and culturally situated forms of memory (Carbone, 2020).I would like to contribute to the project by:a) Defining, through researching artist-archive collaborations, how creative practitioners can help reframe our understanding of phonography's history by going beyond sound as unproblematic inscription to work with its social and material dimensions, making audible the places, people, practices, narratives and source materials entangled in recordings (Roy, 2021).b) Identifying artists in alignment with the proposition that archival sound recordings "speak beyond their object status" (Hoffmann, 2020) - for me, this excess of meaning invites artistic, rather than, or alongside, academic engagement. c) Mapping potential archive collections that can contribute to the exhibition and inform my research.d) Shaping the exhibition's themes and building conversations around them with the NC team and artists. Informed by recent work in sound studies, I suggest the following:- the power of the phonograph to 'bring back the voices of the dead' (Sterne 2003)- the phonograph's reception in Britain and how it constructed national identity (Western 2016)- the transnational political and material ecology of shellac disc production with India as key supplier of lac production (Denning 2015; Devine 2019)Indicative thesis timeline [alongside project timeline]Year 1: Literature review; online research of recent creative projects engaging historical sound recordings; field work interviews with curators, artists and stakeholders of established programmes for artists to work with archival sound [Musée du quai Branly, Fonoteca Nacional de Mexico, Tobar an Dualchais, British Library]. Outcome: series of thesis case studies and framework/agenda that address unrealised potential to inform exhibition.Year 2: Develop critical framework, methodology, bibliography; work with team developing critical curatorial approach, contribute to outline exhibition themes; lead round one public listening sessions to initiate experimental work with archival recordings.Year 3: Round two listening sessions with public and artists (together if possible); co-development of new commissions and live exhibition programme; document artist dialogues around commissions; develop broader programming themes. Exhibition work as directed by team.Year 4: Writing up