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I join a legacy of critical inquiry regarding the ethics of her treatment as a “forbidden experiment” pseudonymed “Genie” to emerge and grant the wishes of researchers.Namely, she is instantiated as the scientific subject used to test the now defunct Lenneberg "critical period" hypothesis: that (what counts as) language must be acquired by puberty or it will not be acquired at all. Her case still widely taught, with the general conclusion that neglect made her incapable of learning to express herself. This is false. And, in the search to fit her to this experiment, so much is lost about her own ways of knowing and communicating in the world.*
In affiliatively refocusing on her actions of expression that have slipped the archive’s seal and official scientific narrative, I find cause to challenge the assumptions that rest on her. Visual, somatic, and spatial modelling reveal ways to repatriate this sealed archive of primary source documents about, of, and by her to her: culturally, historically, internationally, poetically, politically, musically, speculatively, and actually. Now, with an idea of what is there and possible, I want to ask Susan what she wants.
*Including ASL. Interpretation by Joyce Hom.
- Carrie Marie Schneider is a research-based media installation artist with an extensive background in socially engaged frameworks. Her projects on archives, creativity, labor organizing, memorials, and climate change have been featured at the Contemporary Arts Museum Houston, Menil Collection, Transart Foundation for Art and Anthropology, Leonardo Art & Science Rendevous, EFA Project Space, Westbeth Gallery, Bemis, Tufts University, The Design Studio for Social Intervention, Somatische Akademie Berlin, and the US Department of Art and Culture. She was an inaugural Research Fellow with Project Row Houses and the University of Houston’s Center for Art and Social Engagement. She holds a BFA from MICA (2009) and MFA from Rutgers (2023).
-Developed while auditing Visualization Design course with Atif Akin after graduating
-Prototype installation and feedback at Rutgers University while in development
-Paper was used as background guide for collaborators, then turned into Writing Sample as finalist application for UCSD's PhD in Practice program
-Used as direction for original score composed by Flannery Cunningham for a song gift for Susan
Requirements
I've tapped input from multidisciplinary practitioners in the East & West Coast, USA, but
1. I would love international POV on this work
2. a major component of recovered archive material is abroad
3. expanded research is essential to not reperform violence
Alignment with conference themes:
Making seeable - audit of indefinitely sealed archive using art practice visualization, spatialization, and installation
Making sayable - forefronting that Susan did acquire language- American Sign Language, but also forms of expression such as drawing, invention, performance, and modes unnameable to our disciplines
Exploring the ineffable - countering the inherited knowledge that abuse can steal the ability to express, using visual means where viewing is disallowed, avowing the sonic environment in visual deprivation, my theory of creativity grounded in Elaine Scarry’s 1984 The Body in Pain: The Making and Unmaking of the World
The video loop is 11 min long. I provide 3 headphones so people can access spoken English language, ambient sounds such as what Susan may have heard from her room even while she was considered deprived of language (birds, trains, wind), and headphones for reducing the ambient sound in the space.