Sounds and Silences in the Archives of Empire
Lead Research Organisation:
Royal Northern College of Music
Department Name: Research Office
Abstract
FCO 141 also includes records of the Soulbury Commission on Constitutional Reform, which is particularly interesting to me. The civil and political unrest that has marked Sri Lanka since decolonisation can be attributed in part to the deliberate bifurcation of the Sinhalese and Tamil populations by British colonists. I am eager to learn more about the government's attempts to establish peace and parity after years of divisive policies. There is still an urgent need to reassess Britain's imperial past and its aftermath. Initiatives like the 'Migrated Archives' and 'Operation Legacy' have generated suspicion among historians and the public, and it is vital we continue to unearth the lost narratives embedded within the remaining archives. My exploration so far has already fuelled my fascination with archives and ignited my imagination. I envision creating new musical works to be experienced through live
performances, concerts, interactive installations, reflective listening spaces, public gatherings, workshops, exhibitions, and even videogames. With my connections and background, I am well-equipped to effectively disseminate these works to the public, ensuring wide-reaching exposure and long-term community engagement. After learning about the Neural Synthesis models at PRiSM, I am eager to use them as compositional tools and contribute to the development of new ML algorithms. The opportunity to work with generative models to create sound greatly excites me, particularly those based on deep learning architectures like RNNs or GANs. The title 'Deep Learning, Deep Listening' (relating to the work of Pauline Oliveros) keeps coming to mind as a potential name under which I hope to publish some of my research. During the creation of 'Coin,' I experimented with an auditory mapping software called 'Sonification Sandbox.' I am curious to discover what the models at PRiSM can create when trained with auditory mapped CO datasets. By assigning sonic parameters such as pitch, rhythm, or timbre, I hope to create auditory representations that allow for enhanced modes of understanding. The portfolio developed during this studentship could serve as an alternative sonic epistemology, enhancing the understanding and accessibility of complex CO records and revealing insights that may be less apparent in visual or textual representations. Given the absence of audio artefacts in the CO records, filling in narrative gaps with sound becomes particularly important. I will use this studentship to create an online community archive that includes music, field recordings, and oral history, as well as original texts and photography. This inclusive public access space of collective memory can continue to grow beyond the project and serve as an alternative perspective. I intend to use additional student funding opportunities to collect these materials from Sri Lanka as well as the UK. It is imperative to directly engage with Sri Lankan communities to understand their perspectives and incorporate their voices in the creative process. Their lived experiences are valuable contributions to the vital process of decolonising CO records through sound. As a researcher, it is crucial for me to continuously reflect on the potential impact of my work on affected communities, respect their perspectives and concerns, and prioritise ethical considerations throughout the project. Archives serve as powerful portals to the past, preserving the rich tapestry of human history and offering invaluable insights into the complexities of our world. They provide a foundation for research, storytelling, and understanding our collective heritage and memory. I am eager to embark on this journey of discovery, using archives as a springboard for creative exploration, and contributing to the revitalisation of marginalised voices through sound. My goal is to create a portfolio of work that offers a sonic journey through the complexities of colonial history, recontextua
performances, concerts, interactive installations, reflective listening spaces, public gatherings, workshops, exhibitions, and even videogames. With my connections and background, I am well-equipped to effectively disseminate these works to the public, ensuring wide-reaching exposure and long-term community engagement. After learning about the Neural Synthesis models at PRiSM, I am eager to use them as compositional tools and contribute to the development of new ML algorithms. The opportunity to work with generative models to create sound greatly excites me, particularly those based on deep learning architectures like RNNs or GANs. The title 'Deep Learning, Deep Listening' (relating to the work of Pauline Oliveros) keeps coming to mind as a potential name under which I hope to publish some of my research. During the creation of 'Coin,' I experimented with an auditory mapping software called 'Sonification Sandbox.' I am curious to discover what the models at PRiSM can create when trained with auditory mapped CO datasets. By assigning sonic parameters such as pitch, rhythm, or timbre, I hope to create auditory representations that allow for enhanced modes of understanding. The portfolio developed during this studentship could serve as an alternative sonic epistemology, enhancing the understanding and accessibility of complex CO records and revealing insights that may be less apparent in visual or textual representations. Given the absence of audio artefacts in the CO records, filling in narrative gaps with sound becomes particularly important. I will use this studentship to create an online community archive that includes music, field recordings, and oral history, as well as original texts and photography. This inclusive public access space of collective memory can continue to grow beyond the project and serve as an alternative perspective. I intend to use additional student funding opportunities to collect these materials from Sri Lanka as well as the UK. It is imperative to directly engage with Sri Lankan communities to understand their perspectives and incorporate their voices in the creative process. Their lived experiences are valuable contributions to the vital process of decolonising CO records through sound. As a researcher, it is crucial for me to continuously reflect on the potential impact of my work on affected communities, respect their perspectives and concerns, and prioritise ethical considerations throughout the project. Archives serve as powerful portals to the past, preserving the rich tapestry of human history and offering invaluable insights into the complexities of our world. They provide a foundation for research, storytelling, and understanding our collective heritage and memory. I am eager to embark on this journey of discovery, using archives as a springboard for creative exploration, and contributing to the revitalisation of marginalised voices through sound. My goal is to create a portfolio of work that offers a sonic journey through the complexities of colonial history, recontextua
