The Reading Room Event: Last-minute set-up and Preparation

     READING ROOM INVITATION

So, it’s been the longest time since a post at the time when I should have been posting almost daily! A lesson learnt there.

I’ve been and installed at Camberwell for the MA interim show and been to the PV. Detail of all that was involved to follow as I’ve been busy doing and reflecting ‘on-the-go’.

In a few hours I’ll be at The Reading Room hoping that some people will get in touch and that the phone signal  and Broadband will be sufficient to make contact and maybe even stream a Live Event via Google-Hangouts…

I think I’ve got it sort of sorted as much as I can before I get there….

Thanks to my elder son for the loan of his Chromebook, as my Macbook is too old an OS for Google hangouts!!

https://www.youtube.com/channel/UCMVpA4dlEt5gNH5YDfFCCJg

My younger son has also sent me some QRCodes for my Soundcloud stream  ( apparently I’m not computer literate, so I wouldn’t be able to follow his instructions in how to make them……!) so people can hear some of the recordings…

QR Code for Soundcloud for Reading Room QR Code for You Tube Chanel for Reading Room Participants

(Sorry Martin W if you listen to them… I know the quality leaves a lot to be desired..)

I have yet to go and pick up a package from the Post Office Sorting Office which I think is some newspapers that have been sent from Japan? Not sure if I’ll get there before I have to go to set up.

The cakes will be being made by Jane as I write. I can see her icing  them in her kitchen, in my mind’s eye. I really have no idea if anyone will come.

Nothing has been posted on the Croughton website but Jane has put something in the newsletter which is delivered by hand to every house, There are posters in the Co-op and pub and the bus shelter and I left leaflets out in the Co-op and the Reading Room too. Jane left some in the pub when she went to clean.

I’ve not posted the videos yet on YouTube but that is a ‘To do’… more of an archive than a piece of work.

I’ve just got to print out some H&S warnings for the linocut and some other info  to encourage on going contact.

I went over on Thursday morning to try the slide projector out in the small bar and also set out the materials. Richard has said that he will put to the tables and chairs this morning.IMG_2298

I’d better get on. Give me a call if you want to know what’s happening. 07956159954

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Mid Point Review – March 2015

This video describes some of my making and thinking so far.

It also addresses how I plan to move forwards in the near future.

I looked back at my most recent draft proposal, after making the video, and feel my proposal question and aims are still relevant at this point.

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

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, 2001).

My birthplace and previous professions , have strong associated traditional rituals with contemporary links with and 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 archive.

Week 1- Binary and printing


My thoughts for some time have been regarding units of memory, digital or embodied.
I am interested in the concept of prints used as a means of fixing memory.
What is fixed and how fixed is it rather than a drawing which is more fluid, inchoate, temporary?
The impact of our ‘digital age’ is likened that of the invention of printing press in the 15th Century and so to Enlightenment and Reformation in Europe.
As I am moving back, re-examining and re-presenting work it felt appropriate to investigate the some of the earliest examples of prints.
Rather than those made directly with hand and mouth,40,000 years ago I wanted to explore those mediated through another material, an interface, between hand and the print made.
I used Sumerian cylinder seals 

I wanted to reduce ‘something’ to composite units: Text to binary.
At night, a fragment of remembered speech/verse/text came to me as I fell asleep.
I cannot remember if I heard it/ spoke it/read it.
I typed the few words into Safari on my phone and found the full quotation:

‘There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.’
William Shakespeare – Hamlet Act 1, scene 5, 159–167

and converted it into binary notation:

01010100 01101000 01100101 01110010 01100101 00100000 01100001 01110010 01100101 00100000 01101101 01101111 01110010 01100101 00100000 01110100 01101000 01101001 01101110 01100111 01110011 00100000 01101001 01101110 00100000 01101000 01100101 01100001 01110110 01100101 01101110 00100000 01100001 01101110 01100100 00100000 01100101 01100001 01110010 01110100 01101000 00101100 00100000 01001000 01101111 01110010 01100001 01110100 01101001 01101111 00101100 00100000 01110100 01101000 01100001 01101110 00100000 01100001 01110010 01100101 00100000 01100100 01110010 01100101 01100001 01101101 01110100 00100000 01101111 01100110 00100000 01101001 01101110 00100000 01111001 01101111 01110101 01110010 00100000 01110000 01101000 01101001 01101100 01101111 01110011 01101111 01110000 01101000 01111001 00101110

The initial small positive and negative cylinders have a small amount of the binary notation inscribed.

Below is a monoprint of part of the text and also the residual imprint on the glass plate after the print has been removed.
This latter is, of course, not reversed whereas the print is.

Using prints of the documentation images from Unscheduled (2010) seen in my first post, I made monoprints and photographed the prints and the residue as below.
This time the digital ink prints I used to draw from were in black and white and of rather poor quality.
It was hard to determine the lines I wanted to follow.
The lines I made did not follow the original as exactly as before.
Some lines were made which I realised afterwards did not follow the original thread but were joined as I saw them as I was making this drawing.
The print became more of a construction based on an original than a representation.
It was not even made from my memory of the drawing or of the original performance, but an act of piecing together the fragments of visual information I could retrieve from the paper copy to make an image on the paper and the glass plate below it.

Introduction

This blog describes some of the work I am developing as a starting place for my MA Fine Art Digital research September 2014.
This post shows examples of my work processes which investigate the perception and re-presentation of experience through process. By re-using the remains of previous processes as a continuation of ‘trace’, the works explore the fluidity of experience and the impossibility of preserving, quantifying or measuring it. Physical action provides agency which spreads contagious activity and conversation.
Recent work responded to location and considers the paper archive and emotional affect.

The relationship between physical sensation and embodied memories intrigue me, especially when confused or ‘faulty’. Forgetting rather than remembering.


Unscheduled II (2010) was a performance emanating from a mutual recollection
and recreation of an experience of bereavement, and thread which was repeated using the material residue of previous action. Collaboratively documented using photography, video and drawing, it was otherwise unwitnessed.
Graphite pencil drawings (2013) were made using the printed documentation images as reference, scanned as .pdf then converted to .jpeg for uploading to the blog.
A similar series of drawings (2013) were made by tracing in graphite pencil from the printed documentation images.
The tracings were then layered in a linear sequence.

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At the site of a now derelict paper-mill, large rolls of paper were floated in the mill race and then retrieved.
The debris was laid out using it to draw on the grassy mounds of bricks left at the site and photographed for documentation.
Drawings were made by tracing over the images on the computer screen and then overlaid.

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In response to the same location I invited an audience to cover me with personal bank statements from the previous decade.
This was interpreted, by those who had not witnessed the covering, as a sculptural piece.
I continued conversations with those around me, my voice disembodied and my presence not immediately recognised until my emergence sometime later.