Sound as Cultural Artefact (CDA)

研究问题：创造性的实践者如何利用档案录音来创造新的、批判性的、富有想象力的作品，使之与留声机的殖民起源相协调，使观众与过去接触？基于声音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非批判性历史（Campt，2017）。与此同时，对档案录音的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些作品，超越艺术家使用声音作为内容或形式，拥抱想象力，投机性和主观性的叙述，批判性地抓住过去的复杂性，让展览观众体验其连续性和“同一性”（Agawu，2012年）。我概念化的档案之间的殖民地储存库的文件，以跟踪，目录和约束（Campt，2017）和生成资源（Osthoff，2009），过去为未来的创造提供了可能性（Basu和Modest，2015）。档案艺术实践给档案馆带来意义的创造过程（Carbone，2016年），并揭示艺术和档案是如何在社会，物质和文化上定位的记忆形式（Carbone，2020）。我想通过以下方式为该项目做出贡献：a）通过研究艺术家档案馆的合作，定义创造性的从业者如何帮助我们重新理解表音文字的历史，超越声音作为毫无问题的铭文，与其社会和物质层面合作，使地方，人，实践听得见，叙述和源材料纠缠在录音中（罗伊，2021）。B）根据档案录音“超越其对象地位”的主张来识别艺术家（霍夫曼，2020）-对我来说，这种意义的过度邀请艺术，而不是，或者与学术参与。c）绘制可能有助于展览并为我的研究提供信息的潜在档案收藏。d）塑造展览主题并围绕这些主题与NC团队和艺术家进行对话。根据最近的声音研究工作，我提出以下建议：-留声机的力量“带回死者的声音”（Sterne 2003）-留声机在英国的接受以及它如何构建国家身份（西部2016）-紫胶光盘生产的跨国政治和物质生态与印度作为紫胶生产的主要供应商（Denning 2015; Devine 2019）指示性论文时间轴[与项目时间轴一起]第1年：文献综述;最近的创造性项目的在线研究涉及历史录音;与策展人、艺术家和艺术家与档案声音合作的既定方案的利益相关者进行实地工作访谈[Musée du quai Branly，Fonoteca Nacional de Mexico，Tobar an Dualchais，大英图书馆]。结果：一系列的论文案例研究和框架/议程，解决未实现的潜力，为展览提供信息。第二年：制定关键框架，方法，书目;与团队合作开发关键策展方法，帮助概述展览主题;领导第一轮公众倾听会议，启动档案录音的实验工作。第三年：与公众和艺术家进行第二轮倾听会议（如有可能，一起进行）;共同开发新的委托和现场展览计划;记录艺术家围绕委托进行的对话;开发更广泛的节目主题。在团队指导下完成展览工作。第四年：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