Noise of the Past

过去的噪音

• 批准号: AH/E009891/1
• 负责人: Nirmal Puwar
• 金额: $ 21.14万
• 依托单位: Goldsmiths University of London
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2007
• 资助国家: 英国
• 起止时间: 2007 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FE009891%2F1
• 关键词: Noise; Past

Representing a disruptive noise to the performative enactment of the nation in stone, sound and ritual, it is now widely recognised that some stories and bodies have been drummed out of war and remembrance. This project seeks, through co-production, to explore how the noise of the past can be put into play in a series of interactions that make it possible to remember and converse beyond nationalistic and militaristic consensus. The research direction sets in play a cultural production which will be co-ordinated as a dynamic exchange between the researchers, artists and postcolonial generations on war and national memory, through the dialogic mode of call-and-response. Methodologically activating a multicultural encounter, 'Noise of the Past' will publicly converse through multi-sensory modalities / of poetry, historical documents, music and visual art. This collaboration will unleash tension and incommensurability to produce new configurations of open-ended belongings to the nation. The project will be one of actual co-production and public intervention through an audio and visual installation launched in the ruins of Coventry Cathedral. At the centre of this project is a highly professional visual soundscape with the award winning and internationally renowned musician Nitin Sawhney. In an exploration of how to imaginatively engage with everyday life, as aural and visual participants, the installation will move between the dissonance of 'noise' to the imagined purity of the nation. It will operate with discrepant and yet intertwined chords of sound, visual texture and stone to prompt how encounters can be brought into a tactile play of the past in the present. The project develops a collaborative methodology between academic researchers and cultural workers in four stages. Firstly, researchers locate and make available to the artists, during the course of a workshop, sounds, military documents, maps, photographs and letters from a number of archives, including the Sound Archive at the Imperial War Museum and the India Office Library. The second stage will be the production of a poetic exchange in Urdu between a poet/visual artist (a grandson) with his grandfather (who is also a poet and WW2 soldier). The researchers are integral to generating the contextual space in which the exchange will take place. The artist asks his grandfather - whose brother died on the battlefield in the Middle East) and who himself fought in WW2 in the Indian Army under British Imperial rule in Asia, Africa and the Middle East and then moved to Coventry in the 1950s to work in the car industry - why he can't imagine his face in war ceremonies that mark the national calendar, and not even in those fleeting instances when a special monument has been unveiled for soldiers from the ex-colonies. In the third stage of the process, Sawhney in dialogue with the researchers, will explore and affectively respond to the traumas, silences and shared feelings of loss and displacement evoked in the poetic dialogue by creating new music. Then, in the final stage, the researchers engage the poet/visual artist to respond to the music in the form of a film. A highly experienced producer will oversee the technical aspects of the production, right up to the final installation. The cultural exchanges will be logged and documented by the researchers through the use of diaries, video and audio interviews. Furthermore, a sample of the audience will be interviewed after experiencing the installation. The installation will be launched in the ruins of Coventry Cathedral during the season of Remembrance in 2007 / which is itself a consecrated site to both the trauma and memory of WW2. A conference will be held during the installation on the process of co-production, which will include practitioners, artists and academics.Both the central production and the methodologicalprocess will be widely disseminated.

这些故事和身体在石头、声音和仪式中代表着对国家表演性表演的破坏性噪音，现在人们普遍认识到，一些故事和身体已经从战争和纪念中消失了。该项目旨在通过联合制作，探索如何在一系列互动中发挥过去的噪音，从而使超越民族主义和军国主义共识的记忆和对话成为可能。该研究方向将发挥文化生产的作用，通过呼唤与回应的对话模式，协调研究人员、艺术家和后殖民一代人之间关于战争和国家记忆的动态交流。 “过去的噪音”将在方法上激活多元文化的接触，通过诗歌、历史文献、音乐和视觉艺术的多感官方式进行公开对话。这种合作将释放紧张和不可通约性，为国家创造新的开放式财产配置。该项目将是通过在考文垂大教堂废墟上启动的视听装置进行实际联合制作和公共干预的项目之一。该项目的核心是由屡获殊荣的国际知名音乐家 Nitin Sawhney 打造的高度专业的视觉音景。在探索如何以听觉和视觉参与者的方式富有想象力地参与日常生活时，该装置将在“噪音”的不和谐与想象中的国家纯洁之间移动。它将通过声音、视觉纹理和石头的不同但又相互交织的和弦来运作，以提示如何将遭遇带入过去和现在的触觉游戏中。 该项目分四个阶段开发了学术研究人员和文化工作者之间的合作方法。首先，研究人员在研讨会期间从许多档案馆（包括帝国战争博物馆的声音档案馆和印度办事处图书馆）中找到并向艺术家提供声音、军事文件、地图、照片和信件。第二阶段将是一位诗人/视觉艺术家（孙子）与他的祖父（也是一位诗人和二战士兵）之间用乌尔都语进行诗歌交流。研究人员对于生成交流发生的语境空间是不可或缺的。这位艺术家问他的祖父（他的兄弟在中东战场上牺牲），以及他本人在二战中在大英帝国统治下的印度军队中在亚洲、非洲和中东作战，然后在 20 世纪 50 年代搬到考文垂从事汽车行业工作。为什么他无法想象自己的脸出现在标志着国家日历的战争仪式上，甚至在为前殖民地士兵揭幕的特殊纪念碑揭幕的那些转瞬即逝的时刻。在该过程的第三阶段，索尼将与研究人员对话，通过创作新的音乐来探索和情感回应诗意对话中引发的创伤、沉默以及共同的失落和流离失所的感觉。然后，在最后阶段，研究人员让诗人/视觉艺术家以电影的形式对音乐做出回应。经验丰富的制作人将监督生产的技术方面，直至最终安装。研究人员将通过日记、视频和音频采访来记录和记录文化交流。此外，在体验安装后还将对部分观众进行采访。该装置将于 2007 年纪念季期间在考文垂大教堂废墟中启动，该教堂本身就是二战创伤和记忆的圣地。装置期间将召开一次关于联合制作过程的会议，参与者包括从业者、艺术家和学者。中央制作和方法过程都将得到广泛传播。