Voice styling: Toward your vibrating voice as hair
- Submitting institution
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University of Winchester
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 33YB2
- Type
- T - Other
- DOI
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-
- Location
- -
- Brief description of type
- Multi-component output
- Open access status
- Out of scope for open access requirements
- Month
- October
- Year
- 2016
- 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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- Research group(s)
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- Proposed double-weighted
- Yes
- Double-weighted statement
- This multi-component research output is an extended and complex project begun in 2015 written reflections produced 2018. Working teams that crossed disciplines between fine and computational art, performance, object design, textile art, engineering, sound and vibration coding bridged knowledge-worlds to conceive of, prototype and audience test, artworks. The body of practical experiments/performances was interspersed with peer reviewed publications and conference papers that disseminated the outputs, leading to further iterations of practical experimentation. It represents a complex and multi-layered process that conceives of vocal agency as voice-styling that bridges high and popular aesthetic codes.
- Reserve for an output with double weighting
- No
- Additional information
- This project asks how we might involve adults and mixed-age groups in public spaces, to reach persons who are not habitual art consumers –in explorations of their extra-normal voicings, with a focus on how we might challenge these public audiences to experience an unfixing of their vocal identities.
Working teams that crossed disciplines between fine and computational art, performance, object design, textile art, engineering and sound and vibration coding addressed this challenge. We bridged our knowledge-worlds to first conceive of, and then in a second phase, re-conceive, prototype and audience test, a series of artworks. To distil meaning from these collaborations, we worked within an artistic-research-adapted version of Ellingson’s (2009) crystallisation method, permitting us to distil meaning and learning from our rhizomatically-related disciplinary viewpoints. Within this, our approach to participation was shaped by Synne Behrndt’s (2015) notion of a ‘dramaturgy of encounter’.
The process resulted in:
•Plans, adaptations of technology, and coding that convert audience voice to touch and back again, tested with audiences
•Design and interaction strategies, visual qualities, and sonic qualities that invite adult audiences, in particular, to interact
•A finished work, Curious Replicas, that uses the metaphor of hair-styling to engage audiences with playing with transformations of their vocal selves across auditory and haptic registers
•A nuanced exploration of the notion of vocal identity in performance, including identity as a vibrational phenomenon
•Meditations on how conceiving of vocal agency as voice-styling might provide us with a new analytical framework for understanding the shaping of the voice as fashioning strategy; through which we can bridge ‘high’ and ‘popular’ aesthetic codes.
Peer-reviewed writings on understanding the voice as fashioned hair within a special themed edition of the Journal of Interdisciplinary Voice Studies; a touring artwork; a dataset; a range of conference presentations; and next-stage artworks decanted from the process.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
