My practice-based PhD explores methods for knowledge production using voice, language, movement and rhythm. I aim to reconceptualise how empathy may form new relationships between the viewer and the Other, what these relationships may be and in what space, and to reimagine a space for potential communication and meaning between bodies outside of patriarchal structures of language. In the proposed geological epoch precipitated by human activity called the Anthropocene, the boundaries of the human-environmental relationship have become blurred: the human acts as a geological agent collapsing human and natural history. Technology ungrounds us and blurs the perception of time and space, removing us from the natural world to a state where we no longer know whether we are objects or subjects (Steyerl). Working through the idea of groundlessness, I seek to reconnect us to the geological surface and understand how the geological acts a layered action of our history. Through the interdisciplinary process of studying geological strata, rock and minerals, and reinterpreting the found textures as movement and gesture, I will generate a score from the readings of a geological surface to reignite the lost geological experience and interconnectedness, recognising in its performance and documentation that nothing is inert in any one moment and explore how ideas and objects intersect. This exploration is undertaken, not only through historical theoretical research, but also through my artistic practice; the score is employed as a prototype for moving image, performance and meaning production. Using a methodology that collapses the binary between theory and practice, I intend to find a space in which alternative forms of communication exist and construct a system of knowledge as a form of knowledge production to understand the relationship between language as well as how we as humans inhabit and communicate with the environment that surrounds us.

Doctoral Training Partnerships: a range of postgraduate training is funded by the Research Councils. For information on current funding routes, see the common terminology at https://www.ukri.org/apply-for-funding/how-we-fund-studentships/. Training grants may be to one organisation or to a consortia of research organisations. This portal will show the lead organisation only.

Doctoral Training Partnerships: a range of postgraduate training is funded by the Research Councils. For information on current funding routes, see the common terminology at https://www.ukri.org/apply-for-funding/how-we-fund-studentships/. Training grants may be to one organisation or to a consortia of research organisations. This portal will show the lead organisation only.

Carbon Measurement Tools in the Creative Industries (CMTCI) will be a rapid evidence assessment undertaken to review recent literature on how creative industries carbon footprint calculation tools (CFCTs) and data can be used to provide a more accurate picture of emissions across a range of creative industries sub-sectors: advertising and marketing, architecture, design and designer fashion, jewellery manufacture; film, television, and radio; photography; IT software and computer services; museums, galleries and libraries; music, performing and visual arts; and publishing. This assessment will include reviewing existing carbon footprint calculation tool methodologies against best practice in these contexts, as well as identifying disparities and proposing means to ensure results are comparable. The project team will also scope the current literature and professional sector debates on the current take-up of carbon footprint calculation tools and barriers to adoption across the sectors listed, identifying typical findings and common patterns of practice.

The present proposal aims to interrogate the role "rhetorical production" (O'Neill, 2015) has played in contemporary art curating over the past decade, as reflected in curatorial scholarship and conveyed in curatorial practice. It refers not only to the rich array of discursive formats underpinning the rise of curatorial discourse --from talks and interviews to first-person narratives and biographical accounts-- but, also, to theoretical inquiries into the programmatic agenda of curating, which have increasingly considered this practice as a particular mode of speaking (Sheikh, 2007; Rogoff, 2013; Butler and Lehrer, 2016) and the curator as the main figure enabling a common space for speech in the sphere of contemporary art. Despite the prominence of curatorial discursive platforms during the last ten years, these have remained under-analysed and, with it, its impact on the process of biennalisation undergone by contemporary art, not least on the crucial themes debated therein, for instance, globalization, ecological crisis, decolonization, etc. Examining the curatorial sites generating rhetorical production becomes therefore a need if we want to understand the nexus between contemporary art, curating and global politics. Drawing on examples of curatorial practice where public speech is purportedly reconciling the singularity of the curator with community instantiation, I aim to reassess the pervasiveness of the curatorial voice to understand the role curatorial discourse has played in contemporary art during the last decade. My analysis intends to unpack how projects such as documenta 14's "methexic" radio, the Serpentine Marathons, or the exhibition "Acts of Voicing" have privileged speaking as a means to accomplish their curatorial purpose while bracing the discursive dimension of curating. The emergence of this rhetorical paradigm has corresponded to a series of notions which curating has incorporated into its field of inquiry; such as, responsibility and "responsiveness" (Butler and Athanasiou, 2013), performativity (Lind (ed.), 2012; Lind, 2007, 2010), durational processes (O'Neill and Doherty, 2011) as well as pedagogy (Graham et al., 2016). These reflections have also nurtured major curatorial approaches to the political, semiotic and libidinal economies that instantiate a community, the latter often labelled in curatorial discourse as constituency (Byrne (ed.), 2018). In and by enacting such constituencies, curatorial practice has privileged public speaking as the main vehicle conveying those moments of community. In initiatives such as KORO, Bergen Assembly or the Folkestone Triennial public address has operated both as the paradigm for disciplinary reflection on curating, being the curator who speaks, and as the main structure that constitutes the "community" (Christ et al., 2015). This ambivalence, which summarizes well the ultimate agenda biennales and analog initiatives are set out to accomplish, gives away the political stances implied in a notion of community that requires, to become such, a mediating instantiation -the curator's. Still more interesting is the nature itself of this kind of public speaking, both a prerequisite for and a result of assembling constituencies in the name of contemporary art, which is able to endow the same with genuine political status -usually making implicit that conventional forms of community lack political authenticity.