Fjorn Butler, an artist, researcher and community event organiser. As a researcher, she is interested in how neoliberal forms of governance in the contemporary formation of the colony use racialised and sexualised discourses to shape the political and instituting power. Fjorn is working on a program of research and public events that take a decolonial approach.
Fjorn Butler is an artist, researcher and community event organiser. As an artist she works primarily under the name Papaphilia. Solo, she produces hardware-based experimental dance music, and in collaboration with Mossy 333 produces narrativised dance-performances that tackle understandings around subjectification and self-determination as settlers in a colony. As a researcher she is interested in how neoliberal forms of governance in the contemporary formation of the colony use racialised and sexualised discourses to shape the political and instituting power. She also writes on sound-poetics and the challenge they pose, as specific social institutions, to Anglophone notions of sound and music as property. She has coordinated and overseen community-based projects that cross disciplinary fields, including the facilitation of visual and sound workshops, advocacy campaigning for lower socio-economic and marginalised communities and community building. She is also a director of creative sector consultancy Future Tense, and co producer of Writing and Concepts lecture series.
My working method is very particular and time-consuming - I understand my practice to be embedded in an understanding of the relationship between making/ bringing form into being and the poetic dimensions of making and bringing form into being. This method deprioritises putting that form into action, because the purpose is to explore all possible tangents and sign-to-meaning formations from sounds I am working with. Which in turn requires strong considerations around the responsibilities of bringing form into being and their representational possibilities - and whether they should be visible/ audible at all. In short – I pay attention to the sound sign itself and try to pay respect to it as an artefact of epistemologies – as opposed to choosing sounds that suit an agenda or style or genre I have in mind.
This methodology means I am required to sift through sounds, samples, tones and rhythmic possibilities; work and re-work bits and pieces, consider the origins and heritages of materials and how they interact with other sounds and ideas. ‘
Through process, design and action, we acknowledge, respect and thank the Wurundjeri and Boon Wurrung people of the Kulin Nation on whose lands this project is based.
Twosixty is a carbon neutral project.