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

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