Voice: Signs and Speech Acts
- Submitting institution
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Nottingham Trent University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 61- 966400
- Type
- T - Other
- DOI
-
-
- Location
- -
- Brief description of type
- N/A
- Open access status
- Out of scope for open access requirements
- Month
- May
- Year
- 2014
- URL
-
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- Supplementary information
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-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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A - Artistic Research Centre
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- ‘Voice: Signs and Speech Acts’ is a large body of work (comprising performance, video works and visual-textual artefacts) developed by Flint over five years through investigating the social phenomenon of ‘voice’ and vocalisation. ‘Voice’ is considered by Flint as actual and virtual, literal and metaphorical, which he sees as an instrument of description, declaration and pure articulation. Analogue and digital formats are used to engage with the ‘meaning’ of voice as word, as sound and as visual sign. Through practice, this enquiry engages with a wider discourse on ‘voice’ in criticism and philosophy (Dolar, Connor, Deleuze) as well as with debates on ‘relational’ and participatory practices in contemporary art (Bourriaud, Bishop ao).
Developed through solo artistic practice and in collaboration, outputs from this research enquiry combine performance, audience participation and visual-textual artefacts, that are shared as contemporary artworks and artists’ publications, presented in a number of national and international contexts between 2014 and 2019.
The practice-based methodology combines performance and participatory practices including: (1) through live description of viewing films hidden from public view; (2) through use of repetitious declarative statement explored within text works and computer-generated voice, and (3) through instructional ‘scores’ that create a spontaneously-assembled ‘community’ or ‘chorus’ of non-specialist readers/speakers engaged in shared vocalisation.
Dissemination is achieved through performance and exhibition, combining different methods and display approaches including performance (scripted and improvised); published text on the page and on public billboard; participatory performances involving dialogic interaction with collaborating artists, participants and audiences in diverse settings within local, national and international venues and social contexts. Furthermore, outcomes are recognised by prizes and invitations to present at international research events including ‘Care & Attend’, Society of Artistic Research conference, Chelsea School of Art, London (30.04.2015); ‘Convocation: On Expanded Language based practice’, symposium, Research Pavilion, Venice Biennale (16.06.2019).
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -