I been looking at Derek Jarman’s Super8 superimposed projection work at M’s suggestion and it is everything I would like to do and, of course, so much more.

I can’t say I get ‘Blown away’ by much but this (below) does it.

How have I missed it.

Guess I wasn’t miserable and male at the right-time.

His use of slow projection speed and a few images per second, the rapid ‘stills’,great splashes of colour with B&W and sepia backgrounds, distorted fleeting imagery often of flame, phantasmagorical feel.



Strategies, Tactics and everyday life

Yesterday’s group discussion was based around The Practice of Everyday (media) Life – by Lev Manovich (2007).

One of the topics is the difference between strategies and tactics and how these may have changed or reversed roles in our digital lives.

I found this discussion very difficult and I’m not sure why?

This topic made me think of the Salt Way bridle – path near my house where I have made work which is an ‘ official right-of-way crossing two B-roads. It is an ancient footpath and runs next to Crouch Hill where I have also made work.


OLYMPUS DIGITAL CAMERA A neighbourly ritual ( 2009)

I often work around this area as it is physically close and has an interesting history from Anglo- Saxon times and possibly before.

Must research this at the museum as there is not a lot here on-line.

Anyway the network of paths made by walkers from the main road and paved ares reminded me of the discussaion.

 People have found their own ways up and down the hll.

 Some have become used by most people and are now rights of way but others just appear and disappear.

Tactics becoming embedded in the landscape but not officially mapped and others transient yet leaving ( temporary ) traces.The same with Prenteg in Gwynedd where common land is criss-crossed by ways that people have walked for centuries, often crosssing other people’s property or land.

I spoke to the Land Registry once who found it fascinating, but a nightmare to work with.

Land boundaries move in the same way with small pieces being absorbed  form common or other land over time.

Its not the same here where everyone is more boundary and path obedient (?) but there they are aware of the paths but don’t necessarily keep to them. No CCTV and sometimes no Google Maps either…..

 Anyway, one of the points of this post was to highlight how somw of the conversation about conversations leapt into life.

Last night at Buddhist Meditation in the Friend’s Meeting House in Banbury, a discussion started  about connections through Social Media even if you aren’t on them.


Friend’s Meeting House Banbury by Marjory Lester

Claire had been contacted by an old friend who had seen her on Facebook in someone’s post.

 Helen then said that she’d seen the image too as she is FB friends with the sam person as she knows all the same people ( has never met J who made the post, even though they live within a few miles of each other).

 She had then followed the link from the person she has never met (J) to C’s website and seen an image of herself with me that she didn’t know existed.

 Keeping up?

Discussion about Social Media and other ‘Over- Arching Social Implications (of Drones) ( Lecture by Paul Mobbs in  a previous post also at FMH sometime ago) and how our actions are mapped without us knowing.

Then this morning I follow a Linked- in message from Sharon Woodward and link to this project ( which is FAB by the way)

There I saw Louis, Helen’s son !

He had taken part in this project during the summer, though I hadn’t realised what they’d been making…..

Certainly examples of conversations verbal and non- verbal via digital media.

Remember this ( another note to self)

I was aware during our Skype chat yesterday of the comparative silence whilst everybody chatting loudly via text and the recording of that textually, the only noise was ‘tapping’ on my phone and the hum of my Time Capsule.

Pascale mentioned the sound of the Iman calling to prayer outside in Beirut and Jonathan said how interesting he found the background noise in a Skype call he had had with her sometime ago.

He also mentioned that Go Pro cameras over- record every 10 minutes or so, deleting and recording at the some time…interesting from the pov of forgotten and deleted memories which keeps re-surfacing for me.

Makes me think of my  Time- Capsule which is now full and deleting old files as it backs-up new ones….I can hear it doing it and it makes me feel very uncomfortable…..

There is something here about sound…

Martin may pop in later today so will talk to him..He has sent me an email which I’d like to reproduce here.

Will ask him,

Re: Derek Jarman…………………………

Unit 1 Project Proposal – Reflections

Here it is.

I’ve made it very formal as I want to use it as a working reference document stuck up in the studio.

I want to tick off things I have tried and scribble comments on it.

I know it seems very uncreative and adminy but it is an attempt to limit it a little after listening to the lecture by Nick Gorse Dean of Camberwell on ‘failed projects’.

Still far too may things to attempt in the Methodology but I expect some will become less relevant.

As with anything living, it grows limbs …a leg here..an arm there.

I felt as if I was cutting them off  and then they would grow again.

I guess this is the case, but I don’t know what creature will be created in the end.

It’s not like proposals I’ve written in the past, references to artists are directed to my blog not contained within the proposal.

I want to spend some time now reading and watching with playing in between.

I lke the layering that seems to be emerging but I want to clarify my theoretical direction again.

Look at the map and find my reference points.

Writing the proposal has made what I want to make clearer but I need to clarify my theoretical position.

I am often guilty I feel of saying I am doing one thing but really doing something very different and not recognising what that is until afterwards…

I don’t think that will wash for an MA?

Still not sure which hill I’m climbing but I’m sure it doesn’t have a Trig point on the top.

That’s good! so long as I know where I am when I get there……and maybe even build a cairn…

Unit 1


  1. Working Title:


How can digital technology contribute to the re-animation of action or event residue to demonstrate its co-existence with the present?


  1. Aims and Objectives:




I am interested in the way we document and archive past events, the overlay of memory of past and present, and the fluid space in between.


Previously I have written about the use of drawing as a form of mutable documentation and how it contributes to the recording of


different remains of performance, actions or acts; those that are immaterial.. ‘


Schneider, R. (2001). Archives: Performance Remains. Performance Research , 6 (2), 100-108.



My birthplace and previous professions have both associated traditional rituals and contemporary dependence upon digital technology.


My practice responds to sites close to ‘home’, to generate work through action, which is documented, becoming a secondary work.




  • To combine the use of digital technology with physical action, objects and images (remains of place, time and events) to produce work that evokes emotional affect in a viewer.
  • To use digital technology and traditional art practice to make manifest concepts such as impermanence, change, continuation and layered co-existence, rather than static archive.




  • To identify and investigate ideas of the ephemeral and temporary and continued change and how they maybe demonstrated through digital technologies
  • To demonstrate temporal co-existence and intersection of the underlying traditional and the contemporary in the work.
  • To increase my understanding of the ways in which digitally processed documentation operates to access memory when compared with other forms (analogue or physically embodied).
  • To increase my understanding of the different ways that digital, analogue and physical materials act to stimulate access to memory and so re-animate an event.
  • To explore ways of creating an experience of the work which then ‘spreads’ beyond a direct audience either physically or digitally.
  • To create work that evokes physical sensation, emotion or contemplation in an audience.
  1. Context:


Historical – Origins of mark-making and drawing, invention and development of printing, photography, film-making and digital and mobile technology.

Key social and political events associated with these.

Origins of Land art and performance art.


Contemporary – Blogging, and social media, computer history, ‘The Cloud’ and their effect on recording events and action.

Recent developments in land art and performance practice.


Theoretical- Contemporary and historical discourse on archive, mediation and dissemination, memory and time (philosophical and scientific), ritual practice, embodiment, social semiotics of historical, traditional and digital media.


  1. Methodology:

1-10 Practical experimentation, interviews and direct observation in addition to below.


11 -15 Literature and practice reviews on- line and hard copy, podcasts, experience of artists work on-line or in exhibition, fellow students’ blogs and links, museum and gallery visits.


  1. Research site and location as a starting place for the action or event.
  2. Research action/events as a starting place for making work and various means of documentation.
  3. Explore the use of residual physical materials related to location and action eg earth or tools, in conjunction with digital techniques and language to investigate how this may re- animate documentation.
  4. Investigate how projection of still or moving image combined with drawing and physical objects may re- animate documentation.
  5. Explore analogue materials of action and event documentation such as letters, books and photographs and how they can be and have been used as tools of re-animation.
  6. Research the use of simple coding/programming e.g. Arduino to enable interaction between a viewer and projection.
  7. Research the use of mediated reality systems e.g. Augmented Reality as a means of re-animation.
  8. Research, explore and record occurrences of re-animation in everyday life using sketchbooks, blogging, video and sound recording.
  9. Experience how ‘not-working’ enables accidental experiences, co-incidence and enjoyment to generate creative insight and reflection.
  10. Use reflective blogging, practice critique and tutorial/ peer feedback as qualitative methods of measuring outcome.
  11. Research and employ suitable quantitative methods of measuring outcome where necessary for e.g. measuring ‘spread’ of active documentation.



  1. Research how physical sensation may affect and reanimate memory (reading relevant intermediate physiology and psychology texts).
  2. Reinvestigate theories of ritual and witnessing to interpret how they operate in my practice.
  3. Research natural and social history of sites used to decide on direction of interpretation.
  4. Research theories of time, archiving and memory to interpret 1-6 above.


  1. Outcomes:


A written research paper which supports the investigations that have taken place in my developing practice.

A piece of resolved work for exhibition using digital and analogue technology together with physical objects and action which aims to provoke some emotion in an audience and demonstrates fluidity of documentation of an event.


  1. Workplan:




Read one theory book.

Visit relevant exhibition.

Examine the work of artists who use projection, action and performance e.g Paul Hurley Connection/ Time, Joan Jonas, David Cotterell, Joseph Bueys.

Play with projections, layers and objects within projection.

Revisit old locations, reflect on past work and make new.

Organise blog and check references, categories and tags.

Review Proposal.




Revisit old work and examine in the light of this proposal.

Revisit old bibliography from BA

Visit UAL Libraries for hard copies of books and film library

Investigate basic Buddhist, philosophical, physiological and psychological theories of theories of memory and forgetting.

Investigate artists working with memory and digital media e.g. e.g

Learn more about digital memory processing and retrieval basics

Investigate dementia from emotion and perception p.o.v.

Research digital location, google maps, geo-cache, GPS etc. and related artists

Visit new locations, respond with action and make work.

Review Proposal.





Initial Investigation of philosophical and scientific theories of time( and space)

Play with glass with Helen Slater to make objects for projection.

Investigate the transmission of sensation through digital.

Read Neuromancer.

Visit Science Oxford Project in Didcot and research Arduino as a creative participative tool




Read video/film- making books to interpret what has been made.

Investigate AR Programming

Use of body as support for projection.

Draw within projections.

Investigate tech used by JJ .

Investigate Skype camera as interactivity.

Use letters, text etc



Overall review and reflection so far


Feb 2015

Low Residency weeks



Reflect on low residency

Start to concentrate more on writing


Consider work for interim show




interim show


July till Sept

Consolidate writing and continue practice



Research paper submission


November – March

Reflect over all work and then focus research practice



Final Show Proposal and Risk assessment

June 2015

Exhibition installation and show



  1. Bibliography (Introductory) :




  • Benjamin, Wl. (1936) The Work of Art in the Age of Mechanical Reproduction trans Underwood J.A. ( 2008)  London : Penguin
  • Berger, J. M. (1982) Another Way of Telling. London: Writers and Readers Publishing Co-operative Society Ltd.
  • N. (2010) The Shallows London: Atlantic
  • Christiane Paul (2003) Digital Art London: Thames and Hudson
  • H. (1911) Matter and Memory trans .Paul, N.M. and Scott Palmer, W. CT, USA : Martino Publishing
  • Derrida , J. (2004) Dissemination London: Continuum
  • Dick , P.K. (2004) Volume 5, The Collected Short Stories of Philip K. Dick We can Remember it for you Wholesale London: Golantz
  • Gibson, W. (1995) Neuromancer London: HarperColllins
  • Illingworth, S. ( 2011) The Watch Man Balnakiel London: Film Video Umbrella
  • Jones, A and Heathfield, A. ed. (2012) Perform, Repeat, Record- Live Art in History Bristol UK : Intellect
  • Leopoldseder, H.,Stocker, G., Schopf, C., Total Recall –The Evolution of Memory Ars Electronica Ostfildern: Hatzje Cantz
  • Lippard, L, L ed. (1997) Six Years The Dematerialisation of the Art Object from 1966-1972Berkley: University of California Press
  • Manovich, L. (2001) The Language of New Media London: MIT Press
  • O’Rourke, K. ( 2013) Walking and mapping: artists as cartographers London: MIT Press
  • Schneider, R. (2001) Archives: Performance Remains. Performance Research , 6 (2), 100-108.
  • Schneider, R. (2010). The Document Performance. In The Live Art Almanac London and Leeds, U.K.: The Live Art Development Agency.
  • Tribe, M. and Reena, J.( 2006) New Media Art Koln :Taschen
  • Turner, V. ( 1969). The Ritual Process: Structure and Anti-structure. New York: De Gruyter.
  • Van Dijk,J .( 2007) Mediated Memories in the Digital Age Stanford: Stanford University Press.
  • Van Sijll, Jennifer (2005) Cinematic Storytelling Studio City: Michael Weise

From Marina A to Revolution with Frank’s in between

This will start out as a list of experiences with full reflection added later when I am less tired.

On Friday 24th I went to London to the Lisson on Bell Street and saw the Marina Abramovic White Space and then The Gates of the Festival Djurberg and Berg.

On the way back I realised that a bookshop Archive Bookstore, crammed with books, was open and I wandered in.

I need no old books or sheet music as I have an archive of my own, so I enquired about possibly selling some of my father’s.

I ‘promised’ to make a list and email it.

From there to Ambika P3 for Schizophrenia Taiwan, an exhibition of new media and digital art fromTaiwan.

I mentioned this in a previous post, and my vicarious ‘relationship’ with Taiwan.

Although the exhibition was spoilt to some extent by the sound contamination between works (a common problem I think when video is shown) there were several pieces of work which were emotionally moving. Nowhere to sit, though, to watch them in full.

I will describe some of the works here later.

From here I went down to The Jerwood Drawing Prize 2014.

The winner was a sound piece by Alison Carlier Adjectives,lines and marks, the first time a sound piece has won the Jerwood.

There was one video work and all others marks on a support, as far as I remember.

From here I walked round in circles for a while as I couldn’t find Frank’s Cafe and my phone was very low on battery.

I had forgotten it was on Southwark Street.

Eventually I found it and ate enough food to sink a small ship in the Thames.

Established that, despite all plans, I was not going to meet Sam at the Velodrome to see his friends riding the Varsity Track Event, so I left before dozing off into a post-prandial snooze, and with some difficulty, made my way to King’s Cross anyway on the 45.

I spent a couple of hours or so in the CSM library, borrowed several books, all relatively new titles with some digtech content, and made my way to KC station to get to Stratford.

Redirected to St Pancras, I found myself on the fast train to Stratford International, calling at various stations in Kent including Rochester and Deal.

From there, a rather confusing, poorly signposted and longer than expected, walk to the velodrome.

I gave Sam’s ticket to a youth leader on the way, in case it could be used, and chatted to three other lost souls looking for the racing.

An amazing building as you eventually walk towards it.

At last, went in to watch Revolution 1.

The next event was unexpected.

As I entered, at the gate at the top of the bank before the home straight, I started to weep.

The sound of the bikes gliding round on a warm-up, Hugh Porter’s voice on the sound system…….

I dropped my library books and, somewhere I discovered later, my UAL i.d.; found my way to my seat  just before the finish line, and waited for Andrea.

Watched Laura Trott beat Marianne Voss in the Women’s Omnium Scratch Race to deafening applause, and the Loughborough Team Pursuit lads get through to the Varsity final due to a dq.( Southampton touched wheels.)

Had to leave before L team rode again and so didn’t get to see them beat Glasgow…the whole reason for going, apart from seeing Sam… but never mind…..

A long and seemingly sadistic round-about route semi- directed us back to the station via Westfield (oddly busy at night, I thought), and then on the Central Line with a couple of Smurfs carrying pineapples (‘ Say hello in Spanish!’ ) to  Marylebone by 11 to get the train home.

A day of contrasts; memories made and many, rather poignaintly ( highlighted in pretty colours) re-visited.


Theatre By David Cotterrell ( 2009):

‘A composite extract of the Video Installation, ‘Theatre’ – an immersive 60minute, 5 HD channel projection of an aeromed flight from Camp Bastion to Kandahar

In 2007, Cotterrell was commissioned by the Wellcome Collection to travel to Helmand Province, Afghanistan, with the assistance of the Ministry of Defence, to observe the work of the joint forces medical teams at Camp Bastion.
Theatre is an attempt to put into context the sense of abstraction Cotterrell experienced as a witness to the treatment received by combat trauma victims in the field hospital at Camp Bastion. The film relates to a flight made on the eve of Remembrance Day 2007, in which the artist accompanied a Critical Care Air Support Team during the night-time evacuation of a seriously injured soldier.Such flights are often only vaguely remembered by the sedated patient. Inside the belly of the Hercules transport plane, the juxtaposition of medical care and military hardware creates a strange environment. The flight offers a symbolic bridge between the trauma and confusion of the casualty station and the considered, long-term process of rehabilitation in the civilian healthcare system.

Theatre is a simulation of a simulation: a reconstruction of the last day of training for medical evacuation crews before they are deployed to Afghanistan or Iraq. It offers a rare glimpse of what is hidden from the public eye.

I visited this work at the Wellcome Trust  and have never forgotten my experience of it.

 I will look at more of his work particularly wrt to his use of programming.

One of Cotterrell’s central concerns is that of ‘intersection’ and I have recently realised that it is one of mine too

(though mine more specifically relates to past/ present intersection with respect to location and action.)

 This description is taken from the biography on his website

‘Encapsulating the roles of programmer, producer and director, Cotterrell works to develop projects that can embrace the quiet spaces that are the sites for action, which might (or might not) be clearly understood in the future.’

Synchronicity, Martin Scorsese and George Melies

Well how about that!

I was working on my proposal. I started to think about how to interpret any video I make from a conventional film making point of view, and at what stage I may do this in my process.

I also remembered that I had mentioned George Melies in my original proposal for early film making, cinematography and illusion techniques research.

Then I realised that I had the film Hugo on the TV in the background as I worked.

It is about the work of George Melies!

Schéma_synchronicité_in_English Diagram illustrating Jung’s Theory of Synchronicity

Le Voyage Dans la Lun (A Trip to the Moon) by Georges Méliès (1902)

Overlay or continuum?

Just had this posted through as I draft my proposal.

I will try and see it on Friday when I go to the velodrome for Revolution.

Schizophrenia and Taiwan 2.0 

Jung’s Theory of Synchronicity, once more as my old Pa would have said.

I have been writing about the overlay of past history and contemporary technological presence in locations which are significant to me.

This is an example which hadn’t occurred to me.

Taiwan ( Formosa during WWII) was the place my father was held prisoner by the Japanese from 1942/3 to 1945.

Some years ago I met a Taiwanese student, aged around 20, as we were both waiting for a train with our bikes on an otherwise deserted rural  railway station in Warwickshire.

As we were chatting I mentioned my father’s time there.

She knew nothing about it. It was not part of her history.

Much of the equipment I use from day-to-day probably uses components made or assembled there.

Overlay or continuum?