Leaky Transmissions: (Im)material cultures of planetary indebtedness

该项目采用了当代考古学中的“当下考古学”命题，作为对当代艺术领域知识和物质文化共同生产的质疑。通过跨学科的探索，我将创作文本、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，我的目标是体验埃塞克斯黑水河口的多方面影响，突出当前能源生产的话语和居住在河口的隐性知识形式。我的论文将运用理论和实践来回答以下问题：1)如何通过创新合作生产和协作实地考察，将嵌入式的、特定地点的当代艺术实践纳入不同的社区？2)“现在的考古学”如何提供一个重要的框架，在承认当地的同时，延伸到所讨论的景观之外，使复杂的提取结构的（非）物质文化具体化？我的建议采用了当代考古学的一个关键命题——现在的考古学——来询问当代艺术领域中知识和物质文化的共同生产。该项目为艺术领域的讨论提供了新的相关知识，要求从业者超越学术理论，寻找新的方法来参与和影响特定地点的环境。它在学科之间的交叉点运作，每个学科相互启发。首先，我将离开“现在的考古学”。（Harrison. 2016）这一术语代表了个人和集体政治行动能够——而且必须——构建的时间位置，以设想新的、更可持续的未来。其次，我将引入“特定地点实践”的概念。（利帕德，1995）源于利帕德对“地点特异性”的重新思考——“地点特异性”重视嵌入性，将人类、经济和历史力量纳入地形之外。通过当前考古学的特定地点实地考察推进了艺术家，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合作生产参与不同社区。虽然现有的艺术/策展奖学金侧重于核能生产的地理/历史，（Grove-White）。2014, Hirst. 2015)，这个跨学科框架考虑了当代和未来的社会物质实践，使我的博士研究与任何一个学科的现有工作不同。由于考古学的严谨性在艺术田野调查中没有得到充分的体现，因此，实验田野调查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、拟议的核项目和离网的Othona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兴趣遗址（SSSI）中。我曾在埃塞克斯生活过，并与他人广泛合作进行特定地点的研究，我的项目将开发出参与河口全球纠缠的方法；这种话语和嵌入式战略有可能为土地使用和能源生产的讨论和行动创造空间，超越国家/企业利益。埃塞克斯的策展人沃伦·哈珀将委托我创作新的作品，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，专注于社区和技术。

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.