Director, TRU (Topology Research Unit)
My teaching includes cultural studies and scriptwriting. Both areas are influenced largely on my professional work as a film producer and writer-director and my practice as a sound artist. This has also informed my research interests in the field of street technologies and cultures (particularly reggae dancehall sound systems) and in sound studies. One important tradition in which I locate my work is that of British Cultural Studies and I am a founding trustee of the Stuart Hall Foundation
The professional experience of work in film and television for the BBC, Channel Four and with my own company Formation Films over many years has given me the basis for continuing links with professionals in those industries. This is most valuable for ensuring that as the programme convenor for MA Script Writing the course is up date with current industry ideas, trends and practices, see also "In Our Own Words." The programme is also accredited by Creative Skillset and students have close links with those on other MA Filmmaking programmes in producing, directing, cinematography and so on.
My research interest in sonic ways-of-knowing and non-discursive non-representational types of meaning led to the establishment of the TRU (Topology Research Unit) in 2011. This has particular interests and activities in the areas of diagrammatics, rhythm and auditory topology. Sound System Outernational is an agency established in 2015 to organize events to develop the relationship between academic researchers, system culture practitioners and aficionados. The auditory environment of the fetus in the womb is another equally intense auditory environment. I am a founding director of Sonic Womb Productions Ltd that with partners in UCL conducts biomedical research and develops immersive surround-media environments.
My PhD students, several of whom with theory-practice projects, have completed their theses in such areas as sound art, diagrammatics, black music and sonic interaction design; others are completing them in reggae music and archeoacoustics.
Projects selected, since 2013
Thinking Thrugh Sound - and Learning from Jamaican Bass/Bass Culture keynote for School of Sound conference, London 20th April 2017
Sound System Outernational (SSO) conference organisation and workshops, SS01 16th January, Goldsmiths, SS02 2nd July, Goldsmiths, SS03 10th February 2017, Global Reggae Conference, UW! Mona, Jamaica
The Sonic Laboratory of the Sound System: the Audio Engineers’ Methods of Knowing and Making, presentation at ICS and RSU, Global Reggae Conference, UWI Mona, Kingston, Jamaica, 10th February 2017
Global Reggae & Dub Plate Stories with Mandeep Samra (Sound System Culture) AHRC Reggae Research Network conference, University of East Anglia, 25th January 2017
Making Sense of Sound - Before Interpretation, public lecture, Institut für Volkskunde/Europäische Ethnologie, LMU, München, Germany 24th April 2015
Afrofuturism: Technology & Fiction, Harold Offeh in conversation with Julian Henriques, (forthcoming, Goldsmiths Department of Visual Cultures Public Lecture series), 19th November 2015 Skin Deep Magazine
Sonic Womb Orbb, installation at Brain Forum scientific conference, Lausanne, Switzerland, sponsored by W Industries, Zurich, 27th and 28th May 2015 https://sonicwomb.tech/
Professor Stuart Hall Week, 24 – 28 November 2014, curator; Stuart Hall International Conference: Conversations, Projects and Legacies, 28th November, conference committe member
Sound Systems Unplugged, Arnolfini, Bristol, conversation with Ras Muffet with live on stage demonstration of how a sound system works and why, at The Wire Off the Pager Festival, Saturday 27th September 2014
Sonic Diagrams, Sound sculpture and Re-presentation, presentation toSound Art Curating Conference, Goldsmiths, 15th May 2014
Dissidence in an Era of Diversity, talk for BME Skin Deep Conference, University of Oxford, 24th May 2014
Re-verb and Re-public, presentation to Music and the Public Sphere, symposium organised by Tejaswini Niranjana, Wissenschaftskolleg zu Berlin, 23rd and 24th April 2014
Sonic Space: the Extensive and Intensive Properties of Sounding in the Dancehall Session, or Tweeters in the Trees, presentation to ACLA Capitals, Sound Affects, NYU, New York, 22nd March 2014
Sonic Vision and the Auditory Imagination, lecture for UFRJ, Rio de Janeiro, Brazil, 17th March 2014
The Art and Science of Sound: Learning from Jamaican Reggae Sound System Engineers, lecture to PUC –SP, San Paolo, Brazil, 13th March 2014
Augmented Reality: Placing Yourself in the Picture, presentation to Creative, Critical & Radical, Media & Communications 35th Anniversary Conference, 8th November 2013
Dawn Penn’s You Don’t Love Me (No, No, No) presentation toFieldwork Playlist symposium, Goldsmiths, 20th November 2013
Sonic Embodiment in Arts, Science and Popular Culture, “Lets Talk About,” public lecture, University of Rijeka, Croatia, 31st October 2013
Hip Hop: the New World Order, host for UK film premier, Goldsmiths, 11th September 2013
The Secret Science of Sound: Learning from Jamaican Dancehall, talk at Bold Tendencies, Peckham, London, 24th August 2013
We the Ragamuffin, film showing and discussion, Bold Tendencies, Peckham, London,
23rd August 2013
Ragamuffin film clip http://www.youtube.com/watch?v=8Uo7D7LkDx8
Knots & Donuts 3D sound sculpture exhibited with Sound Reasons at Khoj Studio, New Delhi, India, 22nd March to 27th March 2013
My current research interests includes:
1. Cultural Studies
The British Cultural Studies tradition provides one important framework my research. This concentrates popular culture, the street technology and bass culture of the sound system and reggae and dancehall music in Jamaica. In fact this follows in my father Fernando Henriques’ footsteps in Family and Colour in Jamaica where he researched Jamaican popular culture in the 1950s which was then African-inspired religious cults. My monographs include Sonic Bodies which investigated the performance techniques and practices of the sound system crew of engineers, selectors and MCs; and Sonic Media (forthcoming) that investigates the ways-of-making of the set of equipment and audience’s experience of space and time in the dancehall session and the culture of dancehall scene.
2. Sound Studies
Within this field I am particularly interested is auditory epistemologies, that is to say ways-of-knowing and ways-of-thinking through sound, where meaning is non-representational and often has affective impact. These sensibilities tend to be embodied, tacit and can be ritualistic, compared to traditional epistemic knowledge of text or image. Rhythmic patterning, ratio and proportion, diagrams and topological forms are often useful ways to capture such sonic wisdoms. As well as knowledge sound builds are sense of self and identity which has been a long-running interest in psychology (my first degree) since being a founding member of the editorial collective for the journal Ideology & Consciousness and joint author of Changing the Subject.
3. Narrative Media
My filmmaking work in both documentary and fiction fuelled my abiding interest in storytelling through sound and image. There is no more rigorous and economical written document than a feature film script. One on-going project is Eko & Her Sonic Warriors that takes the experimental form of a “sonographic” novel. For one episode graphic novel type images are cinema-projected to tell a story with a text of silent film type inter-titles and an atmospheric dub soundtrack.
4. Practice as Research
Creative practices often involve ways-of-knowing of which the practitioner is not necessarily consciously aware. This means that creative practice can reveal knowledge that cannot be unearthed otherwise either through observation, or experimentation or theoretical reflection. This leads to a methodology involving critical reflection on an art work and its production, as with my sound sculpture Knots & Donuts in the Tate Modern as part of the Topology Talks series, published in Theory, Culture & Society journal. An ongoing project with UCL includes an innovative multi-screen and multi-sound channel installation for the immersive experience of a biomedical documentary.
Babymother, Writer/Director, Formation Films for Film Four (1998)
See more information on screenonline.org.
Single Voices (30 min.) Director, Carlton Television (2000)
We the Ragamuffin (30 min.) Co-Writer/Director, Rockstead Productions for Channel Four Television (1992)
Exit No Exit (30 min.) Co-Originator/Director, Formation Films for Channel Four Television (1988)
On Duty (30 min.) Producer, On Duty Productions for Channel Four Television (1984)
Television Documentaries (Selected)
The Sex Warrior & the Samurai (30 min.) Executive Producer, Formation Films for Channel Four Television (1996)
Jungle Mix (30min) Producer for ZDF Germany (1995)
Rouch in Reverse (60 min.) Executive Producer, Formation Films for ZDF/Arte (1998) see more information on newsreel.org.
Derek Walcott: Poet of the Island (60 min.) Producer/Director, Arena, BBC Music & Arts (1993)
The Green Man (60 min.) Producer/Director, Omnibus, BBC Music & Arts (1990)
States of Exile and Dictating Terms (50 min. each) Producer/Director, Made in Latin America, BBC Music & Arts (1988)
Publication on my films (Selected)
Cooper, Carolyn (2004) Sound Clash: Jamaican Dancehall Culture at Large, "Mama, Is That You?": Erotic Disguise in the Films Dancehall and Babymother (pp 125-144), New York: Palgrave Macmillan, pp 125-144
Moseley-Wood, Rachel (2004) "‘Colonizin Englan in Reverse’ – Julian Henriques’ Babymother" Visual Culture in Britain, 5:1, 91 -104
Korte, Barbara and Sternberg, Claudia (2004) Bidding for the Mainstream? Black and Asian Films Since the 1990’s, Amsterdam: Rodopi, pp 112-122
Hall, Stuart (1998) A Rage in Harlesden, Sight and Sound, September 1998, Vol.8. No.9. pp. 24-26
Henriques, Julian F.. 2018. Sonic Media: the Street Technology of the Jamaican Sound System. Durham, N.C.: Duke University Press.
Henriques, Julian F.. 2011. Sonic Bodies: Reggae Sound Systems, Performance Techniques and Ways of Knowing. New York: Continuum. ISBN 978-1-441-14429-4
Henriques, Julian F.; Hollway, Wendy; Urwin, Cathy; Venn, Couze and Walkerdine, Valerie. 1984. Changing the Subject: Psychology, Social Regulation and Subjectivity. London: Routledge. ISBN ISBN-10: 0415151376
Henriques, Julian F.. 2019. Duppy Conquerors, Rolling Calves and Flights to Zion. In: Steve Goodman; Toby Heys and Eleni Ikoniadou, eds. AUDINT—Unsound:Undead. Falmouth: Urbanomic Media Ltd, pp. 147-150. ISBN 9781916405219
Henriques, Julian F.. 2018. Rhythm and Algorithm: How Rhythmanalysis became Commercialized, Politicised and Weaponised. In: Paola Crespi and Sunil Manghani, eds. On Rhythm: Technics, Culture, Capital. Edinburgh University Press.
Henriques, Julian F. and Ferrara, Beatrice. 2014. The Sounding of the Notting Hill Carnival: Music as Space, Place and Territory. In: Jon Stratton and Nabeel Zuberi, eds. Black Popular Music in Britain Since 1945. Farnham: Ashgate. ISBN 978-1-4094-6913-1
Henriques, Julian F.. 2011. Musicking. In: Nancy Lesko and Susan Talburt, eds. Keywords in Youth Studies: Tracing Affects, Movements, Knowledges. New York: RoutledgeFalmer, pp. 218-222. ISBN 978-0-415-87412-0
Henriques, Julian F.. 2007. Situating Sound: The Space and Time of the Dancehall Session. In: J. Marijke and S. Mieskowski, eds. Sonic Interventions. 18 Amsterdam and New York: Rodopi, pp. 287-310. ISBN 9789042022942
Henriques, Julian F.. 2003. Sonic Dominance and the Reggae Sound System Session. In: M. Bull and Les Back, eds. The Auditory Culture Reader. Oxford: Berg, pp. 451-480. ISBN 1859736130
D’Aquino, Brian; Henriques, Julian F. and Vidigal, Leo. 2017. A Popular Culture Research Methodology: Sound System Outernational. Volume Journal, 13(2), pp. 163-175.
Henriques, Julian F.. 2014. Rhythmic Bodies: Amplification, Inflection and Transduction in the Dance Performance Techniques of the “Bashment Gal”. Body and Society, 20(3/4), pp. 79-112. ISSN 1357-034X
Henriques, Julian F.. 2014. Dread Bodies: Doubles, Echoes and the Skins of Sound. Small Axe(44), pp. 191-201.
Henriques, Julian F.. 2012. Hearing Things and Dancing Numbers: Embodying Transformation, Topology at Tate Modern. Theory, Culture & Society, 29(4/5), pp. 334-342.
Henriques, Julian F.. 2011. Auditory and Technological Culture: the Fine-tuning of the Dancehall Sound System “Set”. Journal of Sonic Studies, 00-00.
Henriques, Julian F.. 2010. The Vibrations of Affect and their Propagation on Night Out on Kingston’s Dancehall Scene. Body & Society, 16(1), pp. 57-89. ISSN 1357-034X
Henriques, Julian F.. 2008. Sonic diaspora, vibrations and rhythm: thinking through the sounding of the Jamaican dancehall session. African and Black Diaspora, 1(2), pp. 215-236. ISSN 1752-8631
Conference or Workshop Item
Henriques, Julian F.. 2015. 'The Sensorial Apparatus of the Reggae Sound System'. In: Beyond Biopolitcs SLSA 2015 Houston. Houston, Texus, United States.
Henriques, Julian F.. 2015. 'Every spoil is a style: voicing, absence and echo in reggae dub music'. In: False Alarm: Aurality, Errancy and Voice. Kings College London, United Kingdom.
Henriques, Julian F.. 2006. 'Fine-tuning the Apparatus of the Dancehall Sound System'. In: Proceedings, 18th International Conference on Systems Research, Informatics and Cybernetics, August 7-12th, 2006, Baden-Baden, Germany. Baden-Baden, Germany August 7-12th, 2006,.
Henriques, Julian F.. 2008. Sonic Bodies: the Skills and Performance Techniques of the Reggae Sound System Crew. Doctoral thesis, Goldsmiths, University of London