This article explores the styling of vocal identity through blending together descriptions, assertions, and theorizations that result from an artistic, or arts-practice-led, research process. It asserts that hair-styling can be used as an interesting and potent metaphor for inviting audiences to more consciously experience the styling act of shaping their vocal emanations. With reference to the installation Curious Replicas, which invites audiences in to play with vocal soundings by opening up possibilities for voice-change, the author suggests that with each utterance, each of us emits a temporally travelling cloud of auditory, tactile and visual data that he calls a multisensory vocal identity projection (MVIP), a concept which he builds from assertions in Kreiman’s and Sidtis’ (2011) extended study of studies. The installation tries to give public audiences agency over how their MVIPs are generated and then celebrated as aestheticized products, while troubling aspects of how these projections function, and conjoining them to an experience of intersensory inundation, that includes sound, touch and vision. The writing makes a range of claims that link voice production, interactive art use, and corporeal self-styling, and touches on models for understanding user behaviour derived from fashion studies. The article is more concerned with the concepts it troubles, than with drawing clear conclusions, and as such, situates itself within what artistic discourse does best: it speculates.
This article explores the ‘translation’ of live, extended voice performance, imbued with tactile intention, into an archival document that attempts to perform in a way that includes tactile communication. Through re-embodying somatic vocal performance within a format that includes hand-made textile art, the author traces the conversion of the live performance Soie soyeuse into an artist’s book. The resulting artwork takes a stab at talking about the live performance in a way that includes direct, tactile communication with the reader of the book. Placing this in a context of how else we might think about writing for, with, and about tactile performance, the article militates for a model of the articulation of performance as research that works directly on the haptic register of sensation, with all of the contradictions and difficult questions this might raise.
This article has two parts: a prelude, or prosaic introduction to its artistic research content, and the body of the work, which explores through metaphor, rhythmic wordplay, description, and still image, the making of the 2008 music-video-dance experiment Intimacies. The article uses an adapted performance-writing style to explore the results of a somatic process that yoked together interests in touch, membrane and emotion, with a studio process exploring the notion of intimacy, intensity, contact and the skin. Intended as an immersive experience in the subjective memory of a creative process, it celebrates encounter.
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