H2020Индивидуална стипендия2018–2020

TRAVELLING SOUNDS · A cultural analysis of sonic artefacts in postcolonial Europe

„Хоризонт 2020“ — Действия „Мария Склодовска-Кюри“

Период: 2018-09-01 → 2020-10-16
Финансиране от ЕС: 212 195 €
Участници: 1
Схема: MSCA-IF-EF-ST

Линиите свързват координатора с партньорите.

Накратко на български

Звуковите преживявания около градски паметници в Копенхаген и Лондон, като скулптурата „I Am Queen Mary“, разкриват как слушаме и възприемаме пространството. Това помага да се разберат скритите разкази за колониализма и как звукът променя начина ни да виждаме историята.

Този кратък обзор е генериран от изкуствен интелект

Кратко обяснение, генерирано от езиков модел по текста на CORDIS. Оригиналът е по-долу.

Резултати накратко

Travelling Sounds: A cultural analysis of sonic artefacts in postcolonial Europe

The project studies modes of listening – understood both as a sensory modalities and ways of sonic thinking – around artistic interventions and everyday sonic practices in the urban spaces of Copenhagen and London. Focusing on the performative spaces around public monumental sculptures, the project explores the sonic situations, sonic artefacts, and sonic encounters and how they shape and are shaped by the postcolonial condition of Europe. The project investigates modes of listening around three case studies: the public monumental sculpture I Am Queen Mary by artists LaVaughn Belle & Jeanette Ehlers and the temporary light sculpture Inuit Nutaat by artist collective SIIKU that was installed at the Greenlandic Monument in Copenhagen, and Karen Walker’s »Fons Americanus«, a monumental fountain for Turbine Hall of Tate Modern in London. The study’s attention is on the decolonial potentials and tensions, the audible and inaudible sonic narratives, the intensities and materialities of sound, which reconfigure dominant narratives of colonialism and postcolonialism and challenge the regimes of looking and listening that tend to dominate modes of engagement and perception around public monuments. The main objective of the project is to develop a practice-based methodology for the study of critical modes of listening around public monuments and in the urban space, which is accomplished by using auditory research methods such as field recordings and sound editing, the production and performance of audio walks, and the production of audio papers. A comparative perspective is established through the case studies which allows an investigation of different listening positionalities, material-discursive entanglements, socio-spatial and institutional framings, and methodological questions. An important outcome and conclusion of the project is that a sonic and sensorial engagement with modes of listening around public sculptures may contribute to practices of decolonial sonic thinking that challenge the cultural politics of perception and unmarked white listening positionalities in postcolonial Europe.

Текст от CORDIS, на английски · Данни: CORDIS, © Европейски съюз

Цел на проекта

In this postcolonial and globalised world, the movement and criss-crossing of people, ideas, and sonic artefacts across the boundaries of nation states have become integral to the everyday cultural practices of individuals and groups. The vibrant connection between everyday cultural practices, artistic expressions, and new ways of thinking about culture in times of growing migratory movements and globalisation, has fascinated me ever since I started my PhD project on South Asian British musical cultures in the context of postcolonial history and theory. Aiming at establishing myself as an independent scholar, and at taking my expertise in cultural studies, sound studies and postcolonial studies to the next level, I am keen to study the postcolonial condition (Gilroy) of Europe not only through its musical, but also through its wider sonic cultures, taking into account sonic artefacts from different contexts, such as: sonic reinventions of urban space, the social functions of mobile devices, and the identificatory power of sound in cultural memory and commemoration. The overall aim of this project is to establish a comparative perspective which includes case studies from Denmark and the UK, and to investigate the cultural, social and political potential of sonic artefacts – music, voices, and everyday sounds – to forge a better understanding of Europe’s transcultural and entangled postcolonial histories and how they have shaped contemporary sound cultures. To exemplify this, the project focuses on specific iconic events and artefacts such as the sonic-cultural politics of “Greenlandic Square” in Copenhagen, the postcolonial signature sound of the steel drum at Notting Hill Carnival in London, and the 2011 so-called ""Blackberry riots"" addressing its use of social media networks for messaging, activist organisation and sonic representation. The challenging question when looking at these diverse examples is how they are connected to Europe’s postcolonial condition.""

Оригинален текст от CORDIS (на английски).

Участници

KOBENHAVNS UNIVERSITET · KOBENHAVNКоординаторДания