I presented a paper titled ‘receiving queerly displaced utterance: failure and/as response in works by Glenn Ligon and LOW PROFILE’ at Artistic Research Will Eat Itself, the 9th SAR International Conference on Artistic Research, University of Plymouth, April 11 – 13 2018.
The paper was part of an exciting panel on voice and performance with presentations from Philippine Hoegen, ‘Ventriloquists III’; Stephanie Misa, ‘My Mothers dancing on my Tongue’; and Alex Nowitz ‘Manifesto for the Multivocal Voice’.
The two and half days involved performances, installations and conversations across a range of media, artforms and modes of research.
‘threaded insert’ on Sun 24th September at Plymouth Athenaeum
I will perform a new work, ‘threaded insert’ as part of a group project Tears in Rain for Plymouth Art Weekender 2017 at Plymouth Athenaeum, on Sunday 24th September. Tears in Rain is a day-long event bringing together a range of practices by artists whose work uses live or performance elements, alongside participation, moving image and installation. The programme mixes durational and installed work with timed events and actions, and the Athenaeum Auditorium shapes and influences the work. The project includes new works and works adapted to suit this particular context with actions happening throughout the space, projections, a lecture, one-to-one interaction and improvised responses to the site. The artists in Tears in Rain are: Mo Bottomley / Katrina Brown / Mark Leahy / Steven Paige / Marcy Saude / Minou Tsambika
In ‘threaded insert’ I receive via headphones a series of instructions, for orientation, movement, speech, and other actions including spelling words, randomly selected from a database of short audio files. The content derives from guides and instructions for ‘proper’ speech, rules for social and public behaviour, and control or modification of the body. I will perform the work three times over the course of the event, starting from a different point in the building each time, mapping a different course and telling a different tale in response to the received instructions. The score is applicable to any site or any building, but is also specific in the spoken responses and movements it generates; ‘threaded insert’ could be anywhere, but when I am performing in the Athenaeum, the work will also bring attention to qualities and features of that particular space.
On Tuesday September 12th I will present ‘his voice’ at dataAche, DRHA2017 at Plymouth University. dataAche is the 21st international conference on Digital Research in the Humanities and Arts (DRHA). Happening over four days, the event will mix keynote papers, workshops, installations and performance.
‘his voice’ presents a live voicing of the results of orchestrated Twitter searches. It is an ongoing project that has a number of iterations and outcomes. A body of text, gathered via online searches for “his voice sounded like”, has been edited to develop two- or three-word phrases, which are then used to search Twitter. In the live event the search results are converted to audio using text-to-speech software. This audio is delivered to me via headphones, and I attempt to speak it. The results include URLs, hashtags and other coded elements that are common in tweets. The flow of information meets the limits of vocal ability and the spoken output may spill into stuttering, gaps and incoherence.
On March 15th I will present ‘after alert catchers: a report on an other (than) worded event’ at the Beyond Words conference 2017 at Plymouth University. The conference is the culmination of an AHRC funded research project that explored relations of arts to health and wellbeing.
My paper discusses the ‘alert catchers’ project by artists Gabby Hoad, Susie David and Megan Calver at Dawlish Warren Nature Reserve in 2016. I make connections between the artists’ practices and questions of networks, of scoring, and of naming. References are made to work by Donna Haraway, Bruno Latour, Jane Bennett and Kathleen Stewart.