Jennifer Wicks
2042399W@student.gla.ac.uk
Research title: Re-mediating memory: Shaping Memory through Media Archaeology, Audiovisual Performance and Expanded Cinema.
Research summary
This practice-based research offers new insights into the role of technology in remediating memory and is guided by the question:
Can audiovisual performances and installations, situated within expanded cinema and informed by media archaeology, reshape our understanding of memory?
Positioned within an increasingly digital culture in which memory is continuously fragmented, processed, and reconstructed, this project examines how analogue and digital media shape memory through their material and temporal properties. The research is realised through the production of expanded cinema works and multisensory, non-linear installations that present memory as fluid, contingent, and embodied.
Drawing on media archaeology and contemporary technological practices, these works operate both as sites of enquiry and as critical tools. They engage with and challenge the dominance of digital culture by reconfiguring how memory is produced, mediated, and experienced.
Through an iterative process of making and reflection, the research develops a framework for understanding memory not as a fixed record of the past, but as a material and temporal process emerging through interactions between perception and technological systems. In this context, audiovisual systems are treated as active agents in the production of memory, generating it through their formal, material, and durational operations.
Situated within expanded cinema (Youngblood, 1970; Carvalho & Lund, 2015) and media archaeology (Zielinski, 2006; Ernst, 2013; Elsaesser, 2016; Parikka, 2012), the research asks how audiovisual performances and installations might reshape understandings of memory through their material and temporal operations.
Supervisors
Conferences
Sound in Silver: A 16mm film screening and zine hosted by New Interfaces for Musical Expression 2026
23-26 June 2026, London, UK
This research brings together a collective of artists working with optical soundfilm, exploring its connections to experimental expanded cinema within the broader NIME context. Drawing on a long history of photochemical audio synthesis, the authors present optical sound not as an outdated technology, but as an evolving, material-based practice shaped by hands-on processes, community knowledge, and media-archaeological perspectives.
The work emphasises collaborative, low-tech, and process-driven approaches to sound-making, highlighting the value of tactile engagement and slower, “inefficient” systems. It situates itself within ongoing discussions in NIME around alternative forms of practice and participation. In collaboration with Jennifer Wicks, Jasmine Butt, Graeme Hogg, Kathy Hinde, Enrique del Castillo, Matt Davis, Melanie Clifford, Lewis Heriz