Holly is a scholar interested in Cultural Theory and how sound can be used, and how cultural ideas are manifested in the use of sound, along with other concerns such as Feminism, Queer Theory, Antiracist, Critical Race Theory, Black Feminism, and Post-colonial Theory. She contributed to the cataloguing of ‘Her Noise Archive’ (a resource of collected materials investigating music and sound histories in relation to gender), and also researched The Devotional Collection (a collective memorialisation of black British women in the music industry), by Sonia Boyce; in a project on the ‘Women’s Art Register’ which she is currently working on, she is interested in the migratory patterns of the objects of the collection:
Regarding collection of data, she struggles with the generalised surveillance culture, and the degree of cultural and technological mediations that a material can have. Following this, she has an anti-canonical perspective on archives and as a response she questions what is missing from them:
She reflects on the Internet as an archive, whose interfaces for sound need to be re-thought, to work for us from a critical perspective:
Within the Sound Matters Framework, she thinks relational playback is the most fundamental process and she is interested in ‘jamming’ the reality of archives focusing on the relationships between people and archival artifacts, possibly through mediated interfaces such as telematic technologies:
These could bridge divides, for making connections, and for ‘undoing’ traditional processes of interrogation of data.
Do you identify with Holly’s thoughts? What are your own experiences, issues and needs when working with archives and the use of sound?
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