This week, I started pulling together a short article for Shawn Graham’s journal Epoiesen. I’ve been posting them in somewhat random order here on my blog. Because I wanted to foreground Mike Witrgraf’s video work “Hearing Corwin Hall,” I decided to introduce the article with only a very short lede and then embed the video work on the page. You can read that here and watch the video here.
Then, treating “Hearing Corwin Hall” as a kind of archaeological data or object, I proceeded with a longer discussion that offers context for the piece and some basic analysis. You can read more of that here.
Finally, I’ve put together a not entirely satisfying conclusion here which draws on the work of Sara Perry, Ruth Tringham, and Cornelius Holtorf. This will obviously require some revision for clarity and it’ll also need to be expanded, but I’m tired today and have grading to do and some other projects that are demanding my attention. So for today, this feels like a wrap. I’ll put the entire piece together sometime in the next week or two, circulate to my co-authors, and then send it off to Shawn and Company early next year.
The piece seeks to communicate in non verbal ways the history and archaeology of Corwin Hall. This approach to archaeology with parallels with recent calls for an affective archaeology. Sara Perry’s work, for example, explored the role of enchantment and affect in producing knowledge of the past (Perry 2015, 2019). For Perry, enchantment lies at the core of archaeology’s ability to produce action. Hearing Corwin Hall communicates the anxiety of change in campus through a range of non-verbal techniques anchored in the reproduction of the acoustic character of the recital room and the various events associated with the Wesley College Documentation Project. The techniques used in Hearing Corwin Hall paralleled those discussed by Ruth Tringham’s in her recent article on creating ways to explore the deep past that do not rely on the use of contemporary language. Tringham’s willingness to create engagements with the past that allow for significant ambiguity where the audience has opportunities for an emotional response, imagination, and reflection often lost in traditional archaeological texts, descriptions, and reconstructions (2019). We hoped that Hearing Corwin Hall allows listeners to not only experience some of our own encounters with these buildings, but also formulate their own views. Despite the ambiguity of many of the electronic sounds and the garbled looped voice, and the abrasiveness, abruptness, and density of the piece invites strong opinions and responses.
In many ways, the appeal of Hearing Corwin Hall to the enchanting and affecting potential of heritage, does not entirely avoid appealing to“crisis based” or “heritage at risk” narratives. As Cornelius Holtorf has argued crisis based narratives which seek to communicate a sense of urgency by viewing of cultural heritage as a limited and ever shrinking resource has only a limited potential to motivate more expansive, inclusive, or resilient views of the community (Holtorf 2015, 2018). At the same time, by seeking to commemorate and recognize the destruction of the Wesley College buildings on UND’s campus through conventional documentation practices as well as performances and the Hearing Corwin Hall recording we situated the demolition of these buildings within a larger conversation of change on campus and the anxieties that liminal states induce. Our efforts to document the changes to these buildings prior to their destruction by using the compromised acoustics of the recital hall as filter for Hearing Corwin Hall serves as both a reminder that campuses have always been the locations of change and art, music, history, and archaeology offer ways to bring attention to both the emotional impact of the contemporary situation, but also the resilience of the campus community. Hearing Corwin Hall makes clear that the loss of the Wesley College buildings contributed to a sense of local trauma. Performances offer one way to recognize, communicate, and ultimately mitigate the impact of continuous trauma of liminal anxiety on our campus.