Proposal

RHIANNON EVANS : MA FINE ART DIGITAL
Unit 2 
PROJECT PROPOSAL  Draft 6 (Shortened)  3.4.2106
  • Working Title:
Re-animating archive and documentation, through action and social relations at a specific location ; aiming to demonstrate simultanaeity, impermanence and continuum of events.
  • Aims and Objectives:
Background:
My research has focussed on means of documentation, archive and the embodiment of past events, the overlay of memory of past and present, and the fluid space in between. My research paper lead to a multi-disciplinary investigation into how manifestations of memory of action in space and time are made visible through heritage, archaeology, anthropology, geography and present action.
Aims:
  • To combine the use of digital technology with performative action, social relations, objects and images to communicate ‘a simultanaeity of stories’ ( D. Massey ), impermanence and fluidity.
  • To bring together local and global public audiences at the time of making and afterwards.
Objectives:
  • To present work as action or intervention which provokes thought or affect in a contigent audience
  • To demonstrate temporal co-existence and the intersection of underlying traditional and contemporary.
  • To explore ways of creating an experience which ‘spreads’ beyond a direct audience; either physically or digitally to other communities, local and global.
  • To create action and intervention that is ‘gently ‘ political and subversive but which may also employ humour .
Methodology:
  • Process-based with participation and collaboration through social relations based on ‘place’.
  • Using ‘trickster’ performativity and actions based on contingency and indeterminacy.
  • Use of fragmentation, ‘portmanteau’ images and remediation of documentation for action, research, and presentation.
  • Practical experimentation, interviews and direct observation As below :
  • Use reflective blogging, practice critique and tutorial/ peer feedback as qualitative methods of measuring outcome.
  • Experience how ‘not-working’ enables accidental experiences, co-incidence and enjoyment to generate creative insight and reflection.
  • Research the use of Social media such as Periscope to enable broadcast of an event
  • Investigate using projection of still or moving image in the location
  • Research site and location,Space/ Dissemination and psycho-geography as a starting place for the action or event
  • Making of objects /installations on-site from found materials, anthropological observations, botanical and archaeological drawings, map making, and multimedia digital recordings on site combined with remediated archival material
  • Working with local and distant ‘temporary’ communities in a specific location of contemporary ritual and historical significance.
  • Research: Using 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 and bibliography in previous proposals below:
Outcomes:
  • A continuing production and distribution of small actions and events, broadcast and/or documented or witnessed by a ‘public’ or community.
  • A portfolio of documentation for exhibition using digital and analogue technology together with physical objects and action which communicate the experience of the above
Workplan:
April
  • Re-Assess Work and consider final aesthetic of broadcasts
  • Test out ideas and possibilities re: technology in the location
  • Re Evaluate according to above
  • Consider Structure at all times
  • Refine actions as necessary without losing elements f spontaneity.
  • Consolidate thoughts re- presentation / display
  • Continue process
Select topic/groups individuals for further work
Recruit participants through local and digital networks
Build Diary of specific events and paticipants where necessary
Involve/train participants on the use of technology where appropriate.
Plan May event
Work on other events evry 2/ 3 days as possible.
May
Week 1
  • May 1st Event
  • Sort out documentation of this and other events.
  • Work on other events Daily if possible
 Week 2
  • Diarise and Carry out other events
  • Work on Proposal of ideas for Final Show for Group discussion
  • Start Planning and working on Video for Symposium
Week 3
  • Finalise Show Proposal
  • Refine Presentation for Symposium
Week 4
  • Present Show Proposal to group
  • Finalise Symposium Video
June/July 2015
  • Further refinement and focus to final Show in Camberwell and Live
  • Exhibition installation and show
Artists/ works for further analysis:

Bob and Roberta Smith http://bobandrobertasmith.co.uk
Chronopolitics http://www.chronopoliticsmemoperformance.fi/?page=3&requestlanguage=en
Bill Drummond Bill Drummond http://penkilnburn.com
 Jeremy Deller   Jeremy Deller English Magic
Mike Pearson  Bubbling Tom
https://worldtheatre2.wordpress.com
Strange Behaviour
http://www.suspectculture.com/content/microsites/strangebehaviour/geog_heddon.ht
Jeremy Deller http://www.jeremydeller.org/MemoryBucket/MemoryBucket.php
Tim Etchells http://timetchells.com/projects/a-broadcast-looping-pieces/
Johan Grimonprez http://www.ubu.com/film/grimonprez_dial.html

 

RHIANNON EVANS :
MA FINE ART DIGITAL

Unit 1
PROJECT PROPOSAL
Draft 5
08.11.2015
  1. Working Title:
Re-animating archive and documentation, through action and social relations; aiming to demonstrate simultanaeity, impermanence and continuum of events.
  1. Aims and Objectives:
Background:
My research has focussed on means of documentation, archive and the embodiment of past events, the overlay of memory of past and present, and the fluid space in between. My research paper lead to a multi-disciplinary investigation into how manifestations of memory of action in space and time are made visible through heritage, archaeology, anthropology, geography and present action.
Aims:
  • To combine the use of digital technology with performative action, social relations, objects and images to communicate ‘a simultanaeity of stories’ ( D. Massey ), impermanence and fluidity.
  • To bring together local and global public audiences at the time of making and afterwards.
Objectives:
  • To present work as action or intervention which provokes thought or affect in a contigent audience
  • To demonstrate temporal co-existence and the intersection of underlying traditional and contemporary.
  • To explore ways of creating an experience which ‘spreads’ beyond a direct audience; either physically or digitally to other communities, local and global.
  • To create action and intervention that is ‘gently ‘ political and subversive but which may also employ humour .
  1. Context:
Historical
Fluxus and Situationist interventions and small- scale happenings
Local and National Historical events esp. English Civil War, preceeding and subsequent events.
Traditional local and national rituals.
Contemporary
Social media, and their effect on recording events and action. Concepts of community and public.
Networks: Global and local.
Politics: National and international
News- semantics, and dissemination.
Theoretical
Remediation and dissemination, ritual practice, embodiment,
The role of the ‘trickster ‘, contingency and indeterminacy (Derrida- in literature and Deleuze in fim)
Social Space ( incl . Massey, Levefbre), psychogeography
Space and time (philosophical and scientific)
Socially engaged and site- specific practice.
  1. Methodology:
  •  Process-based with participation and collaboration through social relations based on ‘place’.
  • Using ‘trickster’ performativity and actions based on contingency and indeterminacy.
  • Use of fragmentation, ‘portmanteau’ images and remediation of documentation for action, research, and presentation.
  • Practical experimentation, interviews and direct observation As below :
  • Working with local and distant ‘temporary’ communities in a series of locations
  • Choose locations of contemporary ritual or historical significance.
  • Making of objects /installations on-site from found materials, anthropological observations, botanical and archaeological drawings, map making, and multimedia digital recordings on site combined with remediated archival material
  • Investigate using projection of still or moving image in the location
  • Research the use of Social media such as Periscope and Storify to enable broadcast of an event
  • Research site and location as a starting place for the action or event.
  • Experience how ‘not-working’ enables accidental experiences, co-incidence and enjoyment to generate creative insight and reflection.
  • Use reflective blogging, practice critique and tutorial/ peer feedback as qualitative methods of measuring outcome.
  • Research: Using 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 and bibliography below:
  • Space/ Dissemination and psycho-geography more
  • Qualitative methods of researching shared experience eg visual matrix and community participation action research (if relevant).
  • Theories of time, archiving and memory
 
  1. Outcomes:
  • A continuing production and distribution of small actions and events, broadcast and/or documented or witnessed by a ‘public’ or community.
  • A portfolio of documentation for exhibition using digital and analogue technology together with physical objects and action which communicate the experience of the above
  1. Workplan:
December and January
  • Examine the work of live artists using action.
  • Visit new locations, respond with action document and make a portfolio of work
  • Revisit old work and examine in the light of this proposal.
  • Revisit old locations, reflect on past work and make new.
  • Re-mediate old work and new research.
  • Experiment but within new framework.
  • Initial Investigation of philosophical and scientific theories of time( and space)
  • Use Periscope to broadcast action and research other methods of being in several places at the same time!
  • Research video/film re- methodology
  • Make sure to add all references to Zotero.
February
  • Review work and process
  • Review presentation / display
  • Add to exisiting work and select primary components
March
  • Review work for Communication of Aims of proposal-
  • Change proposal or Re-select work or make new work to new aim.
April
  • Re-Assess Work
  • Consolidate thoughts re- presentation / display
  • Continue process
May
  • Select and refine from the above and continue making
  • Final Show Proposal and Risk Assessment
June/July 2015
  • Further refinement and focus
  • Exhibition installation and show
Bibliography: selected from
  • Berger, J. M. (1982) Another Way of Telling. London: Writers and Readers Publishing Co-operative Society Ltd.
  • Carroll, L Alice Adventures in Wonderland and Alice through the Looking Glass
  • Derrida , J. (2004) Dissemination London: Continuum
  • 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
  • Schneider, R. (2010). The Document Performance. In The Live Art Almanac London and Leeds, U.K.: The Live Art Development Agency.
  • 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.
  • BFI Southbank Gallery (Art gallery : London, England), Arts Council England., and British Film Institute., eds. The BFI Gallery Book: The British Film Institute’s Contemporary Art Gallery. London: BFI, 2011.
  • Blais, Joline., and Jon. Ippolito. At the Edge of Art. London: Thames & Hudson, 2006.
  • Brockmann, Stephen., and Judith Schachter. (Im)permanence: Cultures In/out of Time. Pittsburgh, PA, [University Park, Pa.]: Center for the Arts in Society, Carnegie Mellon University, Distributed by the Penn State University Press, 2008.
  • Chandler, Annmarie., and Norie. Neumark. At a Distance: Precursors to Art and Activism on the Internet. Leonardo. Cambridge, Mass., London: MIT Press, 2005.
  • Daniels, Jill., Cahal. McLaughlin, and Gail. Pearce. Truth, Dare or Promise: Art and Documentary Revisited. Newcastle upon Tyne, U.K.: Cambridge Scholars Publishing, 2013.
  • Echarte, Arantxa. Process Based Participatory and Interdisciplinary Artistic Practice: A Practical and Theoretical Exploration Informed by Ethnomethodology and Live Art. Saarbracken: Scholars’ Press, 2014.
  • Ingold, Tim. The Perception of the Environment: Essays in Livelihood, Dwelling and Skill. Abingdon: Routledge, 2000.
  • Kilbourn, Russell J.A., and Ty, eds. The Memory Effect: The Remediation of Memory in Literature and Film. Ontario, Canada: Wilfrid Laurier University Press, 2013.
  • Massey, Doreen. For Space. London: Sage Publications Ltd., 2005.
  • Massey, Doreen. “Places and Their Pasts.” History Workshop Journal: Oxford University Press, no. 39 (Spring 1995): 183.
  • Neiger, Motti, Oren Meyers, and Zandberg, eds. On Media Memory:Collective Memory in a New Media Age. Basingstoke, UK: Palgrave Macmillan, 2011.
  • Rinehart, Richard, and Jon Ippolito. Re-Collection: Art, New Media, and Social Memory. Leonardo Books. Cambridge, Massachusetts, London, England: MIT Press, 2014.
  • Varnelis, Kazyz, and Anne Friedberg. “Place:The Networking of Public Space.” In Networked Publics Ed. Varnelis K., 19. Cambridge, Massachusetts:London, England: The MIT Press, 2012.
Video and Film:
  • It’s a Poor Sort Of Memory that only works backwards.- Dr. David Luke https://www.academia.edu/8184371/It_s_a_poor_sort_of_memory_that_only_works_backwards_Psychedelic_precognition
  • Besson, Luc., Gary. Oldman, Natalie Portman, and Jean Reno. Leon. Buena Vista, 2000.
  • Bigelow, Kathryn. Strange Days. Universal, 2001.
  • Bluteau, Lothaire., Quentin. Crisp, Sally Potter, Tilda. Swinton, John. Wood, Virginia Woolf, Billy. Zane, and Artificial Eye (Firm). Orlando. Artificial Eye, 2003.
  • Moss, Carrie-Anne, Christopher Nolan, Joe. Pantoliano, and Guy. Pearce. Memento. Pathe, 2004.
  • Sinclair, Iain, and Christopher. Petit. London Orbital: A Walk around the M25. Illuminations, 2004.
Websites:
British History On-Line http://www.british-history.ac.uk
BBC British History http://www.bbc.co.uk/history/british/
English Civil War Society http://ecws.org.uk/public/
Minstry of Defence https://www.gov.uk/government/organisations/ministry-of-defence
Cherwell District Council Planning Department http://www.cherwell.gov.uk/planning
https://www.academia.edu
Rhizome http://rhizome.org
Sensingsite http://sensingsite.blogspot.co.uk/p/blog-page_6.html
Live Art Development Agency http://www.thisisliveart.co.uk/resources/live-online
http://ualresearchonline.arts.ac.uk
Ubuweb http://www.ubu.com/film/fluxfilm.html
Other:
Ovada
Oxford Hackspace?
Film Oxford Open Screen Group https://www.modernartoxford.org.uk/event/film-oxford-open-screen-group/
Local, national and international news – various
Local historians
Local library and historical society
Artists:
Bob and Roberta Smith http://bobandrobertasmith.co.uk
Chronopoliticshttp://www.chronopoliticsmemoperformance.fi/?page=3&requestlanguage=en
Bill Drummond http://penkilnburn.com
Tim Etchells http://timetchells.com/projects/a-broadcast-looping-pieces/
Johan Grimonprez
Hannah Hull http://www.hannahhull.co.uk
Paul Hurley- Connection/time http://paulhurley.org/other/
Richard Layzell – http://www.rescen.net/routeplanner/#.Vj-h1IRvZj4
The vacuum cleaner http://www.thevacuumcleaner.co.uk
They are here http://www.theyarehere.net/current/residency-at-south-london-gallery/
Patrick Keiller
Rowens Hughes Liquid Library http://locusathens.com/liquid-library-rowena-hughes-2/
Iain Sinclair
Rox Stobart via Periscope.tv https://www.periscope.tv
http://www.arnolfini.org.uk/whatson/version-control


DRAFT 3
RHIANNON EVANS : MA FINE ART DIGITAL
Unit 1 PROJECT PROPOSAL 26.10.14
  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:
Background:
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.
Aims:
  • 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 archiv
Objectives:
  • 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.
  12. Research how physical sensation may affect and reanimate memory (reading relevant intermediate physiology and psychology texts).
  13. Reinvestigate theories of ritual and witnessing to interpret how they operate in my practice.
  14. Research natural and social history of sites used to decide on direction of interpretation.
  15. Research theories of time, archiving and memory to interpret 1-6 above.
5. 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:
Weeks
10-13
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.
14-17
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.
18-21
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
22-25
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
Week 26
Overall review and reflection so far
Feb 2015
Low Residency weeks
March
Reflect on low residency
Start to concentrate more on writing
June
Consider work for interim show 
July
interim show
July till Sept
Consolidate writing and continue practice 
October
Research paper submission
November – March
Reflect over all work and then focus research practice
April
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

DRAFT 2
Rhiannon Evans MA Fine Art Digital Proposal (Revised 07.09.14)
INTRODUCTION
Within my work I use performative action and drawing, making or altering objects, and use photography, video and drawing to document the process.
I am drawn to working in places of ritual action, often engaging the public in my work with chance encounters and spontaneous response dominating the outcome.
My dissertation at BA level investigated links between drawing, memory, and the mythology of documenting a live event, ending with further questions of how drawing, hand-writing and oral transmission continue as mutable record.
I have continued this investigation with recent work considering paper archive and its impact on emotional affect.
I intend my MA investigation to consider
• The archive of action as a digital, immaterial, disembodied, non-physical document/image (reconstructed as a binary magnetic or electrical ‘bit’) compared to a physically embodied memory acting as the deposit of experience or a material object acting as souvenir and prompt to recollection.
• Various forms of remains of an event, created intentionally or as the product of process and the interplay with recollection, nostalgia or memory.
• The digital version of ‘ trace’, shadow, residue or ‘hazy recollection’.
• Incorporation of images into/onto objects (through digital projection) and how this alters recollection.
• The links between visual image, physical object and how memory is accessed through these.
Responses of memory to the senses intrigue me, especially when confused or ‘faulty’. Forgetting may become a focus.
METHODS
The methods I intend to use are:
• A research process conducted through the making of work.
This will lead to theoretical investigations using relevant academic writing in art theory, critical and social theory and philosophy including cross-disciplinary work (e.g .practical guides for working with people with dementia, medical and scientific research into memory, function and types of memory.)
I have a science degree, a previous career in agricultural science, working in commercial research and development, and a more recent background in health and social care at graduate level.
• Drawings and handwritten text, manuscripts, erased images and printed books combined with digitally produced text, image and video.
• The projection of images and video on to objects, photographs and drawings and possibly overlay of these.
• The production of images and possibly objects from memory.
• Performance action, participative/ collaborative workshops and interaction with members of the public and people with dementia.
• Actions are unlikely to be staged or rehearsed and will be based on people’s contingent encounter with objects, images, texts or a combination of these.
• Documentation of these processes continuing both as part of the work and further research material.
• Possibly sound recordings; produced or recorded manually or digitally maybe with music notation or handwritten/digitally produced manuscripts and sounds produced using objects during action
• Voice as an immaterial transmission of embodied memory may be used as a means of re-telling memories of action.
I will conduct experiments without hypothesis – investigations starting with a question but without conclusion or certainty.
RESOURCES
I will need to access
• Personal archives for objects, correspondence and manuscripts.
• Academic archives primarily in the Midlands, Oxford and London such as the University of Oxford.
• Digital and analogue cameras for still images and video. (I own these.)
• Digital and analogue projectors that I own plus a carousel projector.
• Scientific research journals as necessary on-line or in academic libraries or through inter-library loan.
• Members of the Alzheimer’s Society and dementia community. I already have these contacts.
• Sound software such as Garage Band and Speech Dictate that I already have.
• Sound recording equipment. (I have a basic digital recorder).
• And engage people with dementia and their carers and other members of the public, provided that they are able to fully understand any implications and give appropriate consent. I will act with appropriate consideration and without exploitation.
• I have an enhanced DBS check.
• Social media including Youtube, Instagram, Twitter etc.
• Possibly Augmented Reality Software downloadable, and possibly equipment as Google glasses and digitally distributed smells.
• Possibly 3D Printer, CAD Software and CNC machines.
• Academic research journals on-line and as hard copies and other literature.
• The Bibliography from my BA dissertation as starting place plus Bergson, Walter Benjamin, Berger, W.G.Sebold, Philip K Dick, and Ray Bradbury
• Visual research starting with Oscar Munoz, William Kentridge , Paul Hurley and Connection/Time, George Melies, Joan Jonas, Christian Boltanski and Pipilotti Rist
• Work produced with direct reference to dementia and produced in collaboration with people with dementia.
DEVELOPMENT
I want to investigate the malleability of human memory as a record rather than the on/off existence of a digital file; how a physically embodied archive manifests as a told story through speech, vocal sounds or further action as ‘energy’ rather than matter.
How the production of drawing, image (digital and photograph) and video can be used to represent and communicate this fluid experience in combination with material objects.
I am particularly interested in the sensory aspects of a material object and how sensation acts as prompt to memory to regenerate experience for e.g. the difference between holding a hand-written letter or document and a digital representation of these as text or email.
How do these elicit emotion and affect?
I would like to make and explore ‘liquid’ work, between material and immaterial, which can leak and seep as a representation of memory/experience / action rather than a discrete, binary. Work that disseminates and contaminates in its continuation.
I want the work to have a visual simplicity and be affective.
In the use of social media, images are widely distributed but no physical object is held. No haptic sensation along with smell, taste and kinesthetic sense is experienced.
How does sensory experience relate to a model of interpretation and deposition of a memory, alter representation and recollection for e.g. the sound of tearing open a letter, the feel and smell of the paper, the presence of saliva on the envelope, the object envelope itself and what is represents.
The temporal aspect of the delivery and re- experiencing may also be important. One image/ message transmitted ‘instantly’ as a record of a process.
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