Research Statement
How, as Isabelle Stengers asks, do we ‘listen to that which insists, obscurely?' My research is practice-based and process-led. It combines sound, installation, writing, performance and collaboration. Underpinning these subjects and forms is a commitment to environmental relations and affects: sounds and sites, traces and phenomena; how artefacts matter; how media becomes critical; how practice can be infused with play.
I’m interested in the documentary form and the ways technology, self and space perform agency, power and poetics. Fieldwork, its ethics and aesthetics, is therefore a site of ongoing research. In addition to environmental encounters, my work investigates the pedagogical scene of playback and analysis: the field and studio are knotted arenas in which listening forms a commons for sensing and sense-making.
Areas
Aurality [cultures, power, ecology]; nature/post-nature studies [subjectivity, rights, representation]; media ecologies [infrastructures, histories, justice]; performance [site-specific art, fictions, documentation]; technology [animals, geology, waste]
Positions Affiliations
Reader in Critical Sound Practice, UAL (current)
CRiSAP (Creative Research into Sound Arts Practice) Member, UAL
Associate Fellow, Higher Education Academy (AFHEA)
Post-Doctoral Research Fellow, Listening Across Disciplines II, AHRC, UAL (2019-22)
Co-Collaborator, Techne Conflux, Listening to Field, Body, Voice, Royal Holloway (2019)
Artist in Residence, Leverhulme Trust, Manchester Metropolitan University (2017/18)
Visiting Lecturer, MA Ecology & Contemporary Performance, University of the Arts, Helsinki (2018)
Co-Convener/founder with Salomé Voegelin, Points of Listening, CRiSAP (2016-onwards)
Visiting Lecturer, MA Fine Arts, Central Saint Martins, UAL (2015-2017)
Visiting Lecturer, MA/MFA Performance Practice as Research, CSSD (2015-2017)