Projects per year
Stolen Voices is an ongoing artistic research enquiry by Dr Rebecca Collins and Dr Johanna Linsley (University of Dundee) using ‘eavesdropping’ as a methodology for connecting performance, place and sonic investigation. Since 2014, the investigation has been exploring the East Coast of the UK, listening in on political, social and cultural dynamics; industries and infrastructures; contested histories and futures that are under negotiation. Stolen Voices has created substantial site-specific performance pieces for the town of Seaham, County Durham and the city of Aberdeen. An integral part of the investigation to date has been a series of collaborations with composers. This strand of the larger investigation puts in question the collaborative dynamic and has made use of fictional dramaturgies to frame a series of exchanges. The crux of the investigation aims to interrogate notions of ‘crisis’ and this is a dynamic we now wish to further explore with a broader audience. The question of ‘crisis’ ranges from ecologic crisis to border/migrant crisis to financial crisis and the various forms of social or economic crises arising in the wake of ten years of austerity policy in the UK. Collins and Linsley are also interested in breaking down a kind of philosophy of crisis, interrogating the rhetoric of crisis and the ways crisis is deployed or instrumentalised on the parts of various agents in the current cultural landscape.The investigation has received support from professional industry partners Sound & Music and Snape Maltings/Aldeburgh Music to commission a series of electro-acoustic compositions. The electro-acoustic compositions have been played live at each performance and during academic conference presentations. This small grant will be used to consider the format of the album as a curatorial process. Collins and Linsley will question the mobility of the album in contrast to the site-specificity of the live works; how does this affect and influence the way in which sound and listening create a sense of place? Each of the individual tracks has a particular relationship to place; how might we consider these works as a ‘collection’? How does this inform the larger enquiry which asks; how can an audience be attuned to a specific geographical location? How do sound and listening create a sense of place?
|Publication status||Published - Jun 2019|
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- 2 Public Engagement – Festival/Exhibition