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⚪️Feminist Theory Research

1. Audre Lorde’s Sister Outsider

Quote: “Your silence will not protect you.”

Application: This powerful assertion can serve as a foundational motif in your exhibition, emphasising the necessity for women to vocalise their experiences. Incorporate sound installations where women narrate personal stories, symbolising the act of breaking silence and reclaiming agency.

Quote: “I am not free while any woman is unfree, even when her shackles are very different from my own.”

Application:This sentiment underscores the interconnectedness of women’s experiences across diverse backgrounds. Curate pieces that reflect various cultural narratives, highlighting both unique challenges and universal themes, fostering a sense of global sisterhood.Plan to set up a “breaking the silence” soundscape at the entrance or key nodes. Use the sound of a baby crying to break the silent environment. Visitors listen carefully and experience the journey from silence to shouting.Create a “polyphonic resonance” area, where multi-channel speakers simultaneously play female voices from all over the world – poetry recitations, daily conversations, protest slogans. The intertwined sounds show an international chorus of solidarity, mutual assistance and empathy.

2. Bell Hooks’ Feminism is for Everybody

Quote: “Simply put, feminism is a movement to end sexism, sexist exploitation, and oppression.”

Application: Use this definition as an educational entry point within the exhibition. Create interactive displays that elucidate the core objectives of feminism, correcting misconceptions and inviting all visitors to engage with its inclusive ethos.A message wall is set up in the exhibition where visitors can tell their feelings and experiences. Visitors can deepen their understanding of ending gender oppression and strengthen their commitment to ending gender oppression by participating in “voicing”.

Quote:“Imagine living in a world where we can all be who we are, a world of peace and possibility.”

Application: Design immersive environments that envision this aspirational world. Through multimedia art, portray scenarios where gender equity is realised, inspiring visitors to reflect on and contribute to such a future.

3. Bodies of Sound: Becoming a Feminist Ear

Concept: The book introduces the idea of “feminist listening,” encouraging a re-examination of the gender politics inherent in auditory practices.

Application: Implement exhibition elements that promote active listening from a feminist perspective. Create environments where visitors engage with soundscapes highlighting women’s experiences, fostering a deeper understanding of feminist listening.

Concept: Emphasising sound as an active engagement in social change.

Application: Curate participatory audio installations where attendees contribute their voices or respond to prompts about gender and society, transforming listening into a communal act of resistance and awareness.

⚫️Reflection of “Media & Time” Lecture by Marcus

Marcus’s question-and-answer session in class.

1. Characteristics of time-based media and exhibition space

The lecture pointed out that time-based media (such as film, video, digital video) and static visual art have fundamental differences in exhibition space: the former has its own “light and time” and often requires a “black box” environment to create an immersive viewing experience; while the latter is mostly displayed in a “white cube” and relies on natural light or conventional exhibition hall lighting.

2. Media specificity and technological evolution

From early nitrocellulose film (Cellulose Nitrate) to cellulose acetate (Cellulose Acetate), to tape recording (EIAJ Type 1, Betacam SP, VHS) and today’s digital files, various media have their own characteristics in the “recording-editing-projection” process: film emphasizes materiality and chemical development, video is linear replication, and digital media allows non-linear editing and multi-platform display.

Application in my project: In “Echoes of Silence”, how to record, store and present “silence” – use a highly sensitive microphone for wireless recording, or use a directional recorder to capture spatial micro-vibration? Different technical choices will directly affect the audience’s perception of the narrative ability of sound.

3. Important considerations in curatorial practice

At the end of the lecture, the “a priori theory” and “empirical elements” of curation were sorted out – budget, schedule, venue, technology, audience and accessibility, interaction and feedback mechanism, etc., emphasizing the need to follow the “universal design principle” (Universal Design) and take into account the needs of different audiences (hearing-impaired, light-sensitive, etc.).

Reflection: In “Echoes of Silence”, it is necessary to consider: · Whether to provide visual subtitles or vibration prompts for hearing-impaired audiences to perceive “silence”? · How to set up a rest area in the exhibition hall to avoid the discomfort caused by long-term immersive “silence”? · Matching of exhibition period and budget, feasibility of equipment rental and project maintenance.

5. Curation progress and resource planning

Phase division: literature and technical research (1-2 weeks) → field recording and interviews (2-4 weeks) → interactive platform and workshop planning (2 weeks) → exhibition design and technical testing (2 weeks) → formal exhibition (4 weeks).

Budget highlights: equipment rental, acoustic modification, interactive platform development, auxiliary facilities (vibration pads, seats), to ensure that all technical and experience links are completed within the established funds.