Co-authored Essay in Resonance Journal:
Protocols of Listening: Reflections on the Development of an Interactive Digital Platform for Cross-Disciplinary Sound Research.
Resonance (2022) 3 (3): 224–254.
https://doi.org/10.1525/res.2022.3.3.224
Protocols of Listening: Reflections on the Development of an Interactive Digital Platform for Cross-Disciplinary Sound Research.
Resonance (2022) 3 (3): 224–254.
https://doi.org/10.1525/res.2022.3.3.224
PhD Thesis entitled:
A Queering of Memory, Temporality, Subjectivity: Subversive Methods in Audiovisual Practice
(Completed April 2020)
Abstract
This practice-based research attends to queer and feminist understandings of sound, memory, voice, temporality and spectrality, specifically in relation to audiovisual art. Through an analysis of artworks and material practices, I identify a range of subversive strategies implemented by artists intent on amplifying the voices of marginalised communities. These include alternative modes of listening, seeing and feeling that complicate hegemonic notions of history, genre, representation and subjectivity.
The project examines five single-screen, digital artworks that I have created as part of my research, as well as works by seven other artists: John Akomfrah, Clio Barnard, Evan Ifekoya, Mikhail Karikis, Patrick Keiller, Charlotte Prodger and Wu Tsang.
In relation to my analyses of the artworks, a number of theoretical concepts are developed: Queering of Memory draws primarily on queer and feminist theories of spectrality, temporality and voice (Gordon: 1997; Dinshaw: 1999; Cavarero: 2005; Freccero: 2006; Love: 2007; Blanco and Peeren: 2013). Haptic Aurality builds on established theories of cinematic embodiment (Sobchack: 1992, 2004; Marks: 2000, 2002, Barker: 2009), by attending specifically to sound (Voegelin: 2010; Leimbacher: 2017) and breath (Quinlivan: 2012, 2015). Diffractive Listening is inspired by theories of diffraction (Haraway: 1991, 1997; Barad: 2007, 2010, 2014) which are reconfigured with a much-needed aural sensibility (Lipari: 2014; Goh: 2017). Finally, the disruptive and transformative potential of Interference is considered through the metaphor of the wave (Rodgers: 2010, 2016) and the power of collective action (Butler: 2015; Davis: 2016; LaBelle: 2018).
The structural framework of this thesis is comprised of different configurations of time and subjectivity. A journey that encompasses a vast array of temporalities: from the deep time of geological landscapes and their mythological narratives; the embodied present in all its haptic sensuality; the recent ‘historical’ past; then forwards and outwards towards the future, with all its multiplicitous possibilities.
The full thesis can be read and downloaded here
This practice-based research attends to queer and feminist understandings of sound, memory, voice, temporality and spectrality, specifically in relation to audiovisual art. Through an analysis of artworks and material practices, I identify a range of subversive strategies implemented by artists intent on amplifying the voices of marginalised communities. These include alternative modes of listening, seeing and feeling that complicate hegemonic notions of history, genre, representation and subjectivity.
The project examines five single-screen, digital artworks that I have created as part of my research, as well as works by seven other artists: John Akomfrah, Clio Barnard, Evan Ifekoya, Mikhail Karikis, Patrick Keiller, Charlotte Prodger and Wu Tsang.
In relation to my analyses of the artworks, a number of theoretical concepts are developed: Queering of Memory draws primarily on queer and feminist theories of spectrality, temporality and voice (Gordon: 1997; Dinshaw: 1999; Cavarero: 2005; Freccero: 2006; Love: 2007; Blanco and Peeren: 2013). Haptic Aurality builds on established theories of cinematic embodiment (Sobchack: 1992, 2004; Marks: 2000, 2002, Barker: 2009), by attending specifically to sound (Voegelin: 2010; Leimbacher: 2017) and breath (Quinlivan: 2012, 2015). Diffractive Listening is inspired by theories of diffraction (Haraway: 1991, 1997; Barad: 2007, 2010, 2014) which are reconfigured with a much-needed aural sensibility (Lipari: 2014; Goh: 2017). Finally, the disruptive and transformative potential of Interference is considered through the metaphor of the wave (Rodgers: 2010, 2016) and the power of collective action (Butler: 2015; Davis: 2016; LaBelle: 2018).
The structural framework of this thesis is comprised of different configurations of time and subjectivity. A journey that encompasses a vast array of temporalities: from the deep time of geological landscapes and their mythological narratives; the embodied present in all its haptic sensuality; the recent ‘historical’ past; then forwards and outwards towards the future, with all its multiplicitous possibilities.
The full thesis can be read and downloaded here
Review Article for Moving Image Review and Art Journal (MIRAJ)
In 2018 I wrote a review article of Shona Illingworth's exhibition Lesions in the Landscape for MIRAJ Volume 7, No. 1.
Suggested citation:
Smith, T. (2018) ‘Lesions in the Landscape, an exhibition by Shona Illingworth’, The Moving Image Review & Art Journal (MIRAJ), 7(1), pp. 156–166.
doi: https://doi.org/10.1386/miraj.7.1.156_5.
The full article can be read and downloaded here
Suggested citation:
Smith, T. (2018) ‘Lesions in the Landscape, an exhibition by Shona Illingworth’, The Moving Image Review & Art Journal (MIRAJ), 7(1), pp. 156–166.
doi: https://doi.org/10.1386/miraj.7.1.156_5.
The full article can be read and downloaded here
