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Nikita Gale, SOME WEATHER (Fog), 2021
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CIRCA:
How significant is the idea and role of collaboration for Chisenhale?

ZOÉ WHITLEY:
It’s at the heart of everything we do. Artists had to collaborate to find the disused veneer factory and brewery warehouse 40 years ago when they were evicted from their Butlers Wharf studios. They collaborated on wiring and drywalling what would become Chisenhale Gallery. It’s fundamental to how we work with artists today and how we develop our events, whether local or online.

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Atmospheric Noise: The Indefinite Urbanism of Los Angeles, by Marina Peterson, 2021

In Atmospheric Noise, Marina Peterson traces entanglements of environmental noise, atmosphere, sense, and matter that cohere in and through encounters with airport noise since the 1960s. Exploring spaces shaped by noise around Los Angeles International Airport (LAX), she shows how noise is a way of attuning toward the atmospheric: through noise we learn to listen to the sky and imagine the permeability of bodies and matter, sensing and conceiving that which is diffuse, indefinite, vague, and unformed. In her account, the "atmospheric" encompasses the physicality of the ephemeral, dynamic assemblages of matter as well as a logic of indeterminacy. It is audible as well as visible, heard as much as breathed. Peterson develops a theory of "indefinite urbanism" to refer to marginalized spaces of the city where concrete meets sky, windows resonate with the whine of departing planes, and endangered butterflies live under flight paths. Offering a conceptualisation of sound as immanent and non-objectified, she demonstrates ways in which noice is central to how we know, feel and think atmospherically.

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