Professor of Fine Art, Northumbria University
‘Voice over: archived narratives and silent heirlooms’, entanglements, 3(1):43-54.
Article incorporating eight audio-visual artworks developed for an online journal that specialises in multimodal ethnographic research. The topic was the synaesthtetic afterlife of a set of unplayable 1940s acetate sound recordings found in a family loft. The AV files were created in 2019 for symposia at the Tavistock Institute, London (using archived reports on post-war displacement) and the Pitt Rivers Museum, Oxford (as a response to recent debates about the Museum’s Rani Gaidinliu holdings).
‘Divers Memories’, Scatter Records, Glasgow.
CD released in association with the Chris Dorsett Archive at the Pitt Rivers Museum, University of Oxford. A live recording made in the Museum in 1992 featuring Max Eastley (arc, keyboard, objects), Adam Bohman (prepared strings, amplified objects) and Nick Couldry (keyboard). The original performance was curated by Chris Dorsett and the ethnomusicologist Hélène La Rue.
‘The Train Starts – it Stops – it Starts Again’, in Borland, C., Meacock, J., & Patrizio, A. I
Say Nothing, Glasgow Museums Publishing.
This essay describes a scripted train journey created by Chris Dorsett for Doubtful Occasion: A creative symposium based on artist Christine Borland’s research into WW1 objects in Glasgow Museums’ collection, 5 October 2017. The content builds upon Dorsett’s earlier projects Commute-Converse: curated conversations on Northern Rail commuter trains (2014) and ‘trainslidingtalk’, screened at Extraordinary Renditions: the cultural negotiation of science, BALTIC Centre for Contemporary Art, Gateshead (2013).