Technecast

Welcome to our first episode in our new series on Life Writing. In this epsiode, Morag chats to Karen about her fascinating research.Karen’s doctoral research explores the lives of former Irish nuns, one of whom is her mother. Her work is located at the interface between a number of disciplines (history, sociology, narrative psychology and Irish Studies) and draws on narrative and life history methodologies to consider these life stories in context. These former nuns entered a religious congregation in 1950s Ireland and Karen’s study considers how they came to re-imagine an alternative self and how they navigated the transgressive process of leaving convent life decades later to re-enter the secular world they had renounced as teenagers. Her research is concerned with representations of the past and how ethical memory can challenge the imposing ideologies of the present. Karen is a principal lecturer in Education at the University of Brighton, UK. Her other research interests include the role of reflective practice in professional becoming and how biographical and arts-based methodologies can lead to transformative learning in Higher Education.---Episode transcript: https://drive.google.com/file/d/14pKXF9Z4RtabjtAX_nHsvBepLXEfdbfF/view?usp=share_link--- If you would like to share your research on this podcast, get in touch at technecaster@gmail.com

During her artist-residency at the Archive of the Royal Botanical Gardens at Kew, Anushka Tay composed a series of music inspired by 19th century plant collection in China. She created four multi-layered, textured pieces which range from an instrumental piano solo evoking Orientalism, to a spoken-word poem collaged with field recordings that she took around Kew Gardens during the summer.In this episode of Technecast, Anushka discusses the way that she navigated her instinctive visceral responses to a colonial-era historical archive, as an artist with East Asian heritage. She became sharply aware of the voices of people who had contributed the knowledge preserved in the archive, but who were rarely named or credited in the sources. By moving from text to sound, her responses to the archival materials convey the emotional experience of reading the documents. Through the act of listening, experience the joy and wonder of collecting gorgeous plants, in foreign and unfamiliar lands.You can listen to the full versions of Anushka's pieces on her Soundcloud: https://soundcloud.com/anushkatay/sets/curious-miscellaneousBrowse the companion website for Anushka's exhibition at the Archive: https://curiousmisc.anushkatay.co.uk/Find out more about the Miscellaneous Reports Collection at the Archive at RBG Kew: https://www.kew.org/science/our-science/projects/miscellaneous-reportsInformation on visiting the Archive at RBG Kew: https://www.kew.org/science/engage/accessing-our-science/accessing-library-art-archives---www.anushkatay.co.ukAnushka Tay is an artist and researcher working across text, textiles and music. Whatever the medium, her work explores a preoccupation with the experiences, textures and shapes of the moving body. She is a Techne PhD Candidate at London College of Fashion, University of the Arts London, where she researches Chinese diaspora dress histories through a close study of clothing and jewellery. When she isn’t making things, Anushka enjoys growing flowers in her small garden. She is not a botanist. ---Episode transcript: https://drive.google.com/file/d/1i6L5uCafgjl01-cjFuTzLBljnYiRVcsp/view?usp=share_link ---The Technecast is supported by techne DTPEpisode presented/produced by Felix ClutsonTechnecast team: Julien Clin, Felix Clutson, Edwin Gilson, Morag Thomas, Olivia Aarons, Isabel SykesMusic composed and generously provided by Jennifer Doveton

Continuing our theme of archives, Rudy Loewe (researcher and artist at University of the Arts London) shares their research on the Black Power movement in the English-speaking Caribbean, and the ways in which the British government suppressed it. Rudy also discusses their experience digging into recently declassified Foreign and Commonwealth Office records at the National Archives, and translating these records into art. Rudy is displaying their art at several upcoming exhibitions:Unattributable Briefs: Act Onehttps://www.staffordshirest.com/rudyloewe New Contemporarieshttps://www.newcontemporaries.org.uk/Precarioushttps://www.artexchange.org.uk/exhibition/precarious/#:~:text=This%20exhibition%20creates%20a%20platform,how%20to%20pay%20the%20rent.Unattributable Briefs: Act Twohttps://www.orleanshousegallery.org/news/2022/07/announcing-emerging-artists-programme-22-23-rudy-loewe/Liverpool Biennial https://biennial.com/2023Photo: Rudy Loewe, Trinidad #1-2 (2022). Photography: Ben Deakin.

In this special podcast for the Techne January Congress 2023 - which is based around the craft of writing - the Technecast team share some advice and experiences on writing for a podcast. In addition to input from Felix, Morag, Julien, Olivia and Edwin, we also hear from former contributor Mary Dawson, who gives her tips on scripting and recording an episode of Technecast. Towards the end of the episode the team also discuss music, and specifically the types of music that enhance academic writing. Listened to this, and interested in making your own Technecast episode? Get in touch, we'd love to hear from you: technecaster@gmail.com.We hope you all enjoy the Congress.

This is the second episode in our series on Archives. Artist-researcher Eimhin Daly discuss the entangled sites of their research to consider what constitutes an archival relation. Seeing place itself as an archive, they are concerned with practices of relation, specifically with unlearning relations to place and pasts that are produced by imperialism and nationalism in Ireland. ----Bio: Eimhin Daly is an artist-researcher working with performance and writing. They are currently undertaking a PhD in the School of Arts at the University of Roehampton.Their research project emerged from an engagement with site-specific feminist artworks. In following artists Alanna O’Kelly and Anne Tallentire to Connemara on the west coast of Ireland—the artists’ sites of inspiration three decades ago—Eimhin pays attention to intergenerational affinity and difference in considering (hi)stories of displacement in the region. Listening beyond dominant, amplified narratives, they complicate the notion of Irish loss and longing, and make explicit national perpetration and participation in ongoing settler-colonialism.---Technecast:This episode is presented by Julien Clin.The Technecast is funded by the Techne AHRC-DTP, and produced and edited by Polly Hember, Julien Clin, Felix Clutson, Edwin Gilson, Morag Thomas and Olivia Aarons.Contact: technecaster@gmail.com / @technecastMusic composed, performed and generously provided by Jennifer Doveton

The contributor for this episode is Holly Antrum.This episode was recorded during the exhibition ‘Laura Mulvey and Peter Wollen: Intersections in Theory, Film and Art’, at Camera Austria in Graz (11 June - 14 August 2022). Final-year techne researcher Holly Antrum staged her paper-based artist multiple from within the show, Markéta’s Notes, as a podcast for technecast. Holly Antrum’s project involves filmmaking as an expanded practice. Markéta Hašková is a matrilineal counterpart developed by Holly Antrum to explore the navigation of archives through foregrounding interpersonal collection searches with subjectivity and tactility. She has used the medium of audio recordings that she makes and collects in her research, to underscore this episode, and shares and reflects upon Markéta’s Notes as a recently published aspect of her research. All recording in this episode has been produced in the locality of the project by the researcher at study desks including in the BFI archive viewing desk set within the BFI Southbank Reuben Library.The podcast introduces how she has engaged with conceptualizing a project centring on layers of real and fictional presences in the archive: originating through attending the archive at the BFI, and developing narration for feminist ‘fictioning’ and stepping back into the personal voice of the feminist artist-researcher. Markéta’s Notes was commissioned by the exhibition curators Nicolas Helm-Grovas and Oliver Fuke and by Camera Austria. To receive an update about when the free pamphlets A Taste of Honey and Oedipus Rex from Markéta’s Notes - and when the full edition is available to buy in the UK - sign up to Holly’s artist mailing list. https://tinyletter.com/holly___antrumImages of Markéta’s Notes and their presentation within the exhibition as well as a written version close to this podcast text can be viewed on Goldsmiths’ Animating Archives blog https://sites.gold.ac.uk/animatingarchives/holly-antrum-marketas-notes/---Bio:Holly Antrum (she/her), is an artist, filmmaker and researcher born in London and based in London and South West England. She works with lens-based media including 16mm film, as well as sound, print and writing, and her works approach public and closed live settings. A consistent theme is an attempt to capture tactile histories, while shifting how a document – written, sonic, or visual – might speak through its context and thereby reveal how certain spaces and landscapes are inhabited with meaning and influence.Her work has been shown widely in the UK and internationally, in galleries, DIY spaces, cinemas, online and in print, and is held within public and private collections. Her artist films are distributed by LUX Artists’ Moving Image and she is currently completing a techne AHRC-funded practice-based PhD with Special Collections at the British Film Institute, in partnership with Kingston School of Art. www.hollyantrum.com---Technecast:This episode is presented by Felix Clutson.The Technecast is funded by the Techne AHRC-DTP, and produced and edited by Polly Hember, Julien Clin, Felix Clutson, Edwin Gilson, Morag Thomas, and Olivia AaronsContact: technecaster@gmail.com / @technecast / @pollyhember / @ClinJulienMusic composed, performed and generously provided by Jennifer Doveton

This special episode of Technecast was made for the Techne-funded 'Cultivate' conference, hosted at Kew Gardens, London, on November 10. The episode, 'There Are More Spaces Still to Come', is a 'Cultivate' special feature produced by Techne student Judah Attille, one of the conference organisers. In conversation with Judah, multidisciplinary artist Shenece Oretha speaks about sonic interventions and knowledge production in her installation, In Counter Harmony, staged in the Tin Tabernacle Kilburn and created for Brent Biennial 2022, In the House of my Love.Cultivate aims to reflect on the many areas we strive to cultivate – as Techne researchers, as practitioners, as communicators, as individuals, and as part of wider communities. Cultivate is a student-led event seeking to provide opportunities to put these forms of cultivation into action. The breadth of topics includes land use and misuse; plants and interactions with nature; cultivating skills, networks, and research; and creating space for the practical and caring aspects of cultivation. The conference is structured around panel discussions on the themes of cultivating knowledge, networks, and wellness. This event aims to provide a momentary space to not only reflect on the ‘effort’ and ‘work’ aspects of cultivation, but also on those aspects that nourish and help.Shenece Oretha (she/her, they/them) is a London based multidisciplinary artist sounding out the voice and sound’s mobilising potential. Through installation, performance, print, sculpture, sound, workshops, and text she amplifies and celebrates listening and sound as an embodied and collective practice. Recent works include: In Counter Harmony, Brent Biennial, 2022Ah So It Go, Ah No So It Go, Go So! Curated by Languid Hands for Cubitt Gallery, 2022Notes on Play, a response to the British Library Sound Archive, 2021Hyper Functional, Ultra Healthy | Shenece Oretha: Listening Wholes, Somerset House Studios, 2021Judah Attille (she/her, they/them) is an independent filmmaker and Techne PhD candidate based at UAL Chelsea. Her interest in the sonic register of research output has benefited from a series of Techne audio editing and podcast workshops that consider sonic technology and sonic aesthetics, hosted by Techne alumna and Technecast founder Jo Hutton. In her collaborative practice experience with other Techne students, Technecast has offered Attille a unique platform for building and sharing knowledge bases between institutions within and beyond the Techne research community.In Counter Harmony excerpts courtesy of artist Shenece Oretha and Metroland Cultures Brent Biennial 2022.Special Thanks to Shenece Oretha for her contributions to post-production on There are more spaces still to comePhoto Credit: Detail from In Counter Harmony, Tin Tabernacle, September 2022, by Judah AttilleA transcript of 'There Are More Spaces Still to Come' can be found here: https://drive.google.com/file/d/1nkty5iuZTCn4XHA24rW25WeMJ8LNZYke/view?usp=share_linkA transcript of Shenece Oretha's 'In Counter Harmony' can be found here: https://drive.google.com/file/d/1uU2X05AwbF8VdzF4EEyjyHWMV7-ARQhr/view?usp=share_link

In our final instalment of our theme looking at genre, Sarah Richardson joins us on the Technecast to talk about inclusive satire. By examining reactive characterisations of the archetypal fantasy ‘monster’ in satirical fiction, this project aims to make the argument that these textual strategies demonstrate a broader trend of empathetic storytelling in satire, presenting a genre more optimistic of both the human and inhuman. More specifically, the main focus of this research is on characterisation strategies which generate an ‘inclusive humour’ as opposed to presenting objects of ridicule and mockery. To keep reader engagement at the centre of discussion, the term ‘monster’ is defined in terms of its impact: the project refers to Jeffrey Cohen’s definition of the creature that is ‘the abjected fragment that enables the formation of all kinds of identities,’ a revealing entity both in how it relates to itself and to society. Since this research is practice-based, ‘Laughing with the Bogeyman’ uses Terry Pratchett’s work and my own original writing as baselines to frame the discussion theoretically, hopefully leading to further exploration into the reader response element towards textual strategies of inclusive humour. *Sarah Richardson is a PhD researcher in the English and Creative Writing Departments at Royal Holloway, University of London. She has been interested in satire, humorous narratives, and anything that elevates parody to high art ever since Terry Pratchett’s Discworld taught her that serious is not the opposite of funny. Her studies have permitted her to write a satirical novel all about this stuff (lucky thing) and hopefully by the end she’ll also walk away with a degree.Twitter: SarE_Richardson*Info about Cultivate: https://cultivatetechne.wordpress.com/about/*This episode is presented by Polly Hember. The Technecast is funded by the Techne AHRC-DTP, and edited by Polly Hember, Julien Clin, Felix Clutson and Edwin Gilson.Contact: technecaster@gmail.com / @technecast / @pollyhember / @ClinJulienMore info & Call for Papers: https://technecast.wixsite.com/listen Royalty free music generously shared by Steve Oxen. FesliyanStudios.comImage generously supplied by Helen Richardson.

In the second episode of our focus on climate fiction and speculative fiction (part of our 'genre' theme), University of Surrey researchers Frances Hallam and Edwin Gilson participate in a roundtable discussion led by Technecast's Felix Clutson.Frances Hallam (they/them) is an AHRC-funded PhD researcher at the University of Surrey. Their doctoral thesis, entitled ‘Aquafuturism’, explores ocean and sea creature imaginaries in 21st century speculative fiction that figure decolonial and eco-queer storytelling in the Atlantic.Edwin Gilson is a third-year PhD student at the University of Surrey, and his research relates to the Anthropocene through the lens of contemporary Californian climate fiction, with a particular focus on the tension between the local and the planetary.Technecast:This episode is presented by Felix Clutson.The Technecast is funded by the Techne AHRC-DTP, and edited by Polly Hember, Julien Clin, Felix Clutson and Edwin Gilson.Contact: technecaster@gmail.com / @technecast / @pollyhember / @ClinJulienRoyalty free music generously shared by Steve Oxen. FesliyanStudios.comImage generously supplied by Alex Berger.

A two-parter this week. In the first part, Edwin Gilson introduces the literary label of climate fiction and investigates its usefulness, as well as the blurring of realism and science fiction, through the prism of a number of literary works set in California. Following on, Frances Hallam asks "What is cli-fi without sci-fi?". Their presentation gives us a glimpse at the interconnected histories and contemporary contentions across the scope of climate fiction and science fiction, and asks if we can meaningfully separate the two."Edwin Gilson is a third-year PhD student at the University of Surrey, and his research relates to the Anthropocene through the lens of contemporary Californian climate fiction, with particular focus on the tension between the local and the planetary.Frances Hallam (they/them) is an AHRC-funded PhD researcher at the University of Surrey. Their doctoral thesis, entitled ‘Aquafuturism’, explores ocean and sea creature imaginaries in 21st century speculative fiction that figure decolonial and eco-queer storytelling in the Atlantic.-Technecast:This episode is presented by Felix Clutson.The Technecast is funded by the Techne AHRC-DTP, and edited by Polly Hember, Julien Clin & Felix Clutson.Contact: technecaster@gmail.com / @technecast / @pollyhember / @ClinJulienRoyalty free music generously shared by Steve Oxen. FesliyanStudios.com