Noise of the Past

代表了一个破坏性的噪音，以表演颁布的国家在石头，声音和仪式，它现在被广泛认识到，一些故事和机构已被淘汰的战争和记忆。该项目旨在通过联合制作，探索过去的噪音如何在一系列互动中发挥作用，从而使人们能够超越民族主义和军国主义共识。该研究方向通过呼唤和回应的对话模式，将文化生产作为研究人员，艺术家和后殖民时代之间关于战争和民族记忆的动态交流进行协调。“过去的噪音”将通过诗歌、历史文献、音乐和视觉艺术的多感官形式进行公开匡威。这种合作将释放紧张和不可分割性，为国家创造新的开放式财产配置。该项目将通过在考文垂大教堂废墟上启动的音频和视频装置进行实际的联合制作和公众干预。这个项目的中心是一个高度专业的视觉声景，由获奖的国际知名音乐家Nitin Sawhney主持。在探索如何与日常生活互动的过程中，作为听觉和视觉的参与者，该装置将在“噪音”的不和谐与想象中的民族纯洁之间移动。它将与声音、视觉纹理和石头的不一致而又交织在一起的和弦一起运作，以提示如何将相遇带入现在的过去触觉游戏中。 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找到并向艺术家提供一些档案中的声音，军事文件，地图，照片和信件，包括帝国战争博物馆和印度办公室图书馆的声音档案。第二阶段将是一位诗人/视觉艺术家（孙子）与他的祖父（也是诗人和二战士兵）之间用乌尔都语进行诗歌交流。研究人员是生成交换将发生的上下文空间的组成部分。这位艺术家问他的祖父-他的兄弟在中东战场上牺牲了），他自己在二战中在英国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年代搬到考文垂在汽车行业工作-为什么他不能想象他的脸在标志着国家日历的战争仪式上，甚至在那些为前殖民地士兵揭幕的特殊纪念碑的短暂例子中也没有。在这个过程的第三阶段，Sawhney在与研究人员的对话中，将通过创作新的音乐来探索和情感地回应诗歌对话中引发的创伤，沉默和共同的失落感和流离失所感。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。一位经验丰富的生产商将监督生产的技术方面，直到最后的安装。研究人员将通过日记、视频和音频访谈记录文化交流。此外，观众的样本将在体验安装后接受采访。这个装置将在2007年的纪念季节在考文垂大教堂的废墟上推出，这座教堂本身就是一个纪念二战创伤和记忆的圣地。在装置期间将举行一次关于共同制作过程的会议，与会者将包括从业人员、艺术家和学者，并将广泛传播中心制作和方法过程。

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a multicultural encounter, 'Noise of the Past' will publicly converse through multi-sensory modalities / of poetry, historical documents, music and visual art.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.