Listening in: approaching difference, multiplicity and collectivity through a practice of listening in documentary

Documentary filmmaking has long been concerned with ‘voice’, a term used to speak both to how a film communicates as well as the contributions of those who participate in the film. However, there continues to be a paucity of attention in documentary studies to the strategies that documentarians employ to represent multiple voices while also ensuring that individual voices are heard. This PhD addresses the practice of negotiating the tension of multiple and individual voices by foregrounding documentary’s strategies for listening over those of speaking. Such a foregrounding has consequences for the practice and form, as well as for the politics of documentary. The research inquiry is developed through a series of documentary experiments which examine experiences of aloneness, through spatial configurations of interactive and multi-screen works, to a site-specific walk and finally, a polyvocal installation. The methodology is informed by critical understandings of the neoliberal subject as a socially and politically isolated figure, and also phenomenological accounts of listening as an embodied and relational experience. Alongside these theoretical reflections, there is a self-reflexive charting of the evolution of my practice from the initial experiments in eliciting participatory voices to the reconceptualisation of documentary as a space for listening. As a constellation of creative artefacts, descriptions of process, reflective meditations and theoretical insights on place, self and others, this PhD argues that when we attend more closely to the act of listening, documentary presents a way of being with, rather than, simply knowing others

Embodied Creativity: A Composer's Practice

Embodiment, rooted in the integration of the body and mind, acknowledges the pivotal role the physical body plays in cognitive processes. Embodied creative practices aim to strengthen this connection and utilize it in creative work, fostering holistic working methods that embrace both intellectual and physical aspects of creativity. This dissertation explores composers' engagement with embodied practices and their profound impact on the creative process.Drawing from influences such as yoga and meditation, this paper examines the interconnectedness of the intellect, emotions, and physicality in creativity. Neglecting this mind-body connection often leads to burnout, disconnect from creative impulses, and deprioritizing personal experiences. Cultivating an embodied creative practice is essential for nurturing emotional intelligence, self-awareness, and resilience, and vice versa. This paper focuses on the work of Pauline Oliveros, Joan La Barbara, Laurie Spiegel, and Pamela Z, all of whom exemplify embodied approaches, showcasing works that embrace the physicality and emotionality of creative expression. By combining the work of others with my personal experiences, this dissertation emphasizes the transformative nature of creativity. Engaging in embodied practices can reshape perceptions, providing new opportunities for creative expression and fostering personal growth. By nurturing this dynamic system encompassing brain, body, and world, a sustainable and authentic creative practice emerges. Though not exhaustive, this dissertation serves as an artistic memoire, shedding light on the significance of the mind-body connection in composition and offering inspiration for others to cultivate their own embodied creative practices. The portfolio component for this dissertation includes the pieces Go in Secret, Long It Glows, By the Time We Look for It, If Not, Winter, and the album Up to the Surface. Scores for the first four of these are included here; Up to the Surface is an electronic work and does not have a score