Beyond Words: The Acoustics of Movement, Memory, and Loss in Three Video Works by Martina Attille, Mona Hatoum, and Tracey Moffatt, ca. 1989
Beyond Words: The Acoustics of Movement, Memory, and Loss in Three Video Works by Martina Attille, Mona Hatoum, and Tracey Moffatt, ca. 1989
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无法言喻：玛蒂娜·阿蒂尔 (Martina Attille)、莫娜·哈图姆 (Mona Hatoum) 和特雷西·莫法特 (Tracey Moffatt) 的三部视频作品中的运动、记忆和失落的声学，约
DOI：
10.1163/9789401206068_014
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发表时间：
2008
期刊：
影响因子：
0.3
通讯作者：
G. Pollock
中科院分区：
文献类型：
--
作者：
G. Pollock
格里塞尔达·波洛克的经历可以旅行，这种差异可以登记为在不同空间产生共鸣的生活方式的运动。我的贡献探讨了移民的地理错位和心理分离的具体声学维度，并描绘了声音在由移民重塑的主体性对现有的叙事、想象和记忆模式构成的挑战中所起的作用，以及它们对现有模式的迷失和疏远。我认为，特蕾西·莫法特(生于1960年)、莫娜·哈图姆(生于1952年)和玛蒂娜·阿提勒(生于1959年)创作的三件艺术作品，可以说是后殖民女权主义视觉和听觉的“结合”，以及一套复杂的基于感觉的策略中的移民美学问题。作为蒙太奇和顺序电影或视频作品的基于时间的实践，这些电影同时创造了一种共鸣的声学氛围，通过以超越语言的方式编织视听来支持这些运动。为什么这个看似巧合的共享项目的作品集群在今天出现？为什么他们分享了这样一种对声学的具体探索，作为美学检查迁徙与母体关系的手段，以及反之亦然？为什么有必要通过探索女儿与母亲的关系来上演历史创伤的各个方面？这个领域对声音的关注是否与语言有关，因为语言是丢失翻译的地方？或者，听起来是否无意识地暗示着，在语言的正式和象征性结构之下，与主要的孩子和母亲的关系存在着更深层次的关系？这些女性，她们每个人都在应对移民或后殖民创伤，在她们对电影和视频的女权主义重写中，是否发现了一种媒介，使政治能够通过审美的方式体验和转变--后者标志着语言背后的主观性和情感的交集，而不是逃避甚至旨在抵制其必然性？我希望通过密切关注这三部电影的声学维度来探索精细结构的艺术作品和这种结构允许发生的东西之间的紧张关系。语言交流的缺失是特蕾西·莫法特的《夜哭》(1989)的特点。在莫娜·哈图姆的《距离的测量》(1988)中，阿拉伯语口语的竞争声音，剧本的视觉，以及该作品的英语口语翻译的谨慎语调，都与书信体作为一种介于言语、写作和身体之间的体裁一起工作。玛蒂娜·阿提勒的《梦河》(1988)使用了由非实体声音演唱的克里奥尔歌曲，因此，发声的音乐不仅标志着非洲裔加勒比移民主体性破裂的地理空间，也标志着一代又一代妇女与这些遥远地方的历史联系。因此，在表达语言的层面上，翻译或翻译的失败似乎是这三部作品中的一个因素，而声音、声音、歌曲和沉默则是每部电影都以不同方式被赋予更深层次悲情的运输工具。
Griselda Pollock experience can travel, and that difference can be registered as the movements of modes of living that resonate in varied spaces. My contribution explores the specifically acoustic dimension of the geographical dislocation and psychological separation of the migratory, and plots the role of sound in the challenge that is posed in audio-visual art by the subjectivities that are reshaped by migration, with their deep sense of loss and estrangement, to existing modes of narration, imagination, and memorialization. Three art works created by Tracey Moffatt (b. 1960), Mona Hatoum (b. 1952) and Martina Attille (b. 1959) make possible, I argue, what can be called a ‘holding together’of postcolonial feminist visualities and auralities, with questions of migratory aesthetics in a complex set of sense-based strategies. Time-based practices of montaged and sequential film or video work, these films simultaneously create a resonant acoustic atmosphere that sustains these movements precisely through the weaving of the audio and visual in ways that go beyond words.Why did this seeming coincidental cluster of works of shared projects emerge at this date? Why do they share such a specific exploration of the acoustic as the means to aesthetically examine the migratory in relation to the maternal, as well as vice-versa? Why was it necessary to stage various aspects of historical traumas through an exploration of the daughter’s relation to the mother? Does the focus on sound in this domain concern language as the site of lost translations? Or does sound unconsciously suggest a deeper relation to primary child-mother relations that move beneath the formal and symbolic structures of language? Have these women, each of them dealing with a migratory or postcolonial trauma, found in their feminist rewriting of film and video a medium that enables the political to be experienced and transformed by means of the aesthetic—the latter marking the intersection of subjectivities and affectivities that are subjacent to language without ever escaping or even aiming to resist its necessity? It is the tension between the finely structured artworks and what that structuring allows to occur that I wish to explore by attending closely to the acoustic dimension of these three films. The absence of linguistic communication is the hallmark of Tracey Moffatt’s Nightcries (1989). In Mona Hatoum’s Measures of Distance (1988), the competing sound of spoken Arabic, the sight of its script, and the careful tones of a spoken English translation of that writing all work with the epistolatory as a genre between speech, writing, and the body. Martina Attille’s Dreaming Rivers (1988) uses Creole song that is sung by disembodied voices, so that vocalized music marks not only the ruptured geographical spaces of African-Caribbean migrant subjectivity, but also the historical relation of generations of women to these alterior places. Translation, or its failure, at the level of articulated language therefore seems a factor in all three works, while sounds, voices, songs, and silence function as a transport for a deeper pathos with which each film is charged in different ways.