Final Show: #CrouchHillBanbury

Despite the recent Periscope app update which now allows permanent archive of Broadcasts with chat, I made the decision to allow auto-delete after 24 hours.

The ephemerality and impermanence is an essential component of my work and process, highlighting the concept of dynamic socially created space.

Traces of previous broadcasts are now no longer visible as they were previously

Paradoxically, the events below are heavily documented through Screen-shots from the Broadcasts, created within the 24 hrs before they became unavailable……

it’s really hard to let things go…especially when you need evidence of your process….

 

John Ruskin – Work:

15th July

I read aloud from John Ruskin’s lecture ‘ Work ‘ delivered at the Working Men’s Institute Camberwell in 1865,( which is now the South London Gallery……..?)

to link my location on Crouch Hill in Oxfordshire with Camberwell. This also served as a point for further reflections on work, labour, art and relative positions in contemporary society.

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There were 130 in the Lifestream audience at one point and generally retention was better with people usually sticking it out for a while on each brief Scope.I’m finding the stats interesting to analyse despite not searching for ‘Likes’.

I decided to leave the tent up for the duration of the Show, over the weekend and for the rest of the week until Tuesday evening.

I wrote a note to explain and left it in the tent. I left contact details as well, out of courtesy.

Often, teens camp-out and sometimes just leave the tents.

I didn’t want it to be damaged, removed, offend someone unnecessarily or occupied by another person!

Martin Fiennes – Broughton Castle:

16th July:

Martin’s parents are Lord and Lady Saye and Sele.

William FIENNES (1st Viscount Saye and Sele).The only son of Richard Fiennes, 7th Lord Saye and Sele, he was educated at New College, Oxford, and succeeded to his father’s lordship (barony) in 1613. English politician and promoter of colonization in America. He was a Puritan in religious sympathy and a leader in the House of Lords of the opposition to James I and Charles I.

I invited Martin to Crouch Hill, where he spoke of his visions for the preservation of areas of countryside, whilst accommodating the need for housing into the future. He also talked of  his imaginings of the Puritan and Royalist troops, noisily riding up and down past the foot of the Hill along what is now a busy B road, prior to the siege of Banbury Castle, and the Battle of Edge Hill in 1642.

It brought the past alive for a moment or two, and changed my visions of the present.

He was surprised and amused by the 249 viewers.

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Dozing in my Tent:

17th July

I just started to broadcast  and lay down in a warm tent for a doze…showed the sky to  over a hundred people…Strange, this periscope business…

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33 comments! and a surprising number of viewers.

also found a note when I opened the tent…. it said ‘PLEASE DON’T ‘

I wasn’t sure what they wanted me not to do?
Stay….? Go…?

Some dog-walkers came past and had a chat

Paul Mobbs (@ramblinactivist) :

17th July

I’d invited Paul to talk as he has a deep knowledge of the Quaker Civil War history of the area and an involvement in peace activism in contemporary conflict.

He forms a link from this final work to my initial investigations in Croughton , the Reading Room and RAF Croughton.

In fact, when he arrived he didn’t want to talk about those topics at all but lead a popular walk around the Hill discussing local geology and its implications.

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Edith Eisler, 

18th July

This was the anniversary of Edith’s death in 2011. A  violinist, teacher, noted musician and critic.This is  a recording of her playing Hindemith 

I told the story of how my father became friends with Edith and her family during WWII, following their movement from Vienna to Britain.

Also their subsequent correspondence whilst my father found and located in Japanese POW camp in the Far East, and following his release.

This family correspondence continued, even following my father’s death.

Her kindness has enabled me to pursue this Post-Graduate study.

(Along with a Vice- Chancellors Scholarship from The University of the Arts London).

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iChing and Philip K. Dick

19th July

I am interested in the link between subjective evaluation involved in Divination practice and ritual with the binary code which underlies all things digital.

See this article here in The Guardian

and this J Proteome Sci Comput Biol. 2012; 2012(1): 3. Published online 2012. doi: 10.7243/2050-2273-1-3

I had hoped to use yarrow stalks from the Hill but the season was late and there were few available.

I’d also thought of using Glo-sticks but their popularity at the Public View put paid to that…everyone wore them home..

So I used the cards I’d used in previous broadcasts.

The whole event became ludicrous…more so than other Scopes, as Tia and Purdy, the dogs belonging to my ‘assistant’ were in playful mood.

In the end one of the dogs, Purdy, selected one of the cards…

I read from Philip K Dick, the visionary writer, who cites the iChing in The Man in The High Castle.

His alternative outcome from WWII, and the implications, are  worth re- considering now, I believe. The sun set, the moon was almost full.

In total with Louise’s simultaneous broadcast of the event, there were over 750 viewers..

???!!!!

These were the cards selected.

4 Meng: INEXPERIENCE

Humbleness and sincerity when comprehending will increase knowledge.

9 Hsiao Ch’u GENTLE RESTRAINT, HOLDING BACK

Dense clouds suggest postponing the action till after the rain.

56 Lu: THE WANDERER, THE TRAVELLER

The steadfast and persistent traveller will have good luck.

Make of that, what you will….

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UAL Summer Show: Camberwell College of Arts, Wilson Road, London SE5 8LU

20th July

I went to the Final Crit with my cohort at Camberwell. Saw many of my colleagues and enjoyed seeing the Show.

It was odd walking into an exhibition containing my own work but where I had delegated set-up to colleagues. They had displayed many of the bowls around the building but as these are now empty they had been removed.

The last remaining had been give a plinth, two bowls placed one inside the other with a top light in a dark space. It looked tremendous! Donald Takeshita-Guy had been mainly responsible and is keen on developing his curation skills.

It worked really well

IMG_4537

Later, Clara and I met with the collective of artists to talk about plans for our residency in Norway in 3 weeks time. Very exciting.

Little Venice Studio  with Clara Duran, Keir Williams,  Dave Meckin, Alice Helps, Joe Fairweather-Hole

and then…..NORWAY RESIDENCY and Neptune Developers Camp, Melbu, Nordland

Neptun Introduction

and as Manuel from MAFAD said

” So long and thanks for all the fish”

Its been amazing,  Thanks Jonathan K!

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Elisabeth Price: A Restoration

Elisabeth Price’s work at the Ashmolean, A Restoration 

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Image from Apollo International Art magazine April 1st 

To quote the Ashmolean Press Release she has

 created a new work in response to the collections and archives of the Ashmolean and Pitt Rivers museums, in partnership with the Ruskin School of Art, Oxford, where Price teaches. The new commission is a fifteen-minute, two-screen digital video which employs the museums’ photographic and graphic archives. It is a fiction, set to melody and percussion, which is narrated by a ‘chorus’ of museum administrators.

I went to view the work yesterday and, before I saw it, to a lecture which gave a deep insight into the way Price works, as well as this piece.

She described how the work considers the sense of refuge, and the damage and repair implicit in Museums…the later not generally considered by a visiting public, I guess.

She used existing historical material, books and publications, images from packaging, found imagery and extrapolates from archival material but their is no visible human action only occasionally the artist’s hands ( these often crop up in her work but I didn’t get the chance to ask why?)

I felt this piece was particularly relevant for me, although I always find her work interesting from the point of view of remediated material and use of text and voice.

Because of the source of the Commission ( £60,000 over 3 years) being the Ruskin School, The Ashmolean and the Pitt Rivers Museum it references archaeology and anthropology which link, albeit indirectly in content, back to my research.

Digital Space and Archival Space

She was extremely open in describing her working process and methodology and even used a screen recording of her Desktop files in Adobe Premier Pro to show how she organised her material in folders and how this and the layers within Premier Pro were interpreted by her as a collage.

As if some of her work is buried beneath layers of information, building and stacking as part of the process of making the Timeline.

She described the sense of excavating, building and narrating during the making and also within the technology itself and its use.

The  connections  between Digital Space and the Space of Archive.

She described how ideas of Labyrinth, Chorus and Storytelling recur in her work and  cited User Group Disco  and Sleep as an example of this.

She described how debris exists in digital systems of exchange such as Ebay as well as in Car Boot sales and describes the items as  Objects with Unreadable code’

Whirlpool

She also described Theodore Adorno’s Whirlpool, (which I’ve researched briefly and he seems to use the concept fairly frequently with various associated meanings.)

Price sees it in a Vinyl record…an object which contains other objects, a spiral of sounds and melodies-a reiteration pf information’

She described , I think, at this point, the finding of a Crystal Gayle single which has been a reference in her work since, where the owner’s signature on the sleeve of the record added an ‘epilogue or supplement to the archive’

The ‘real’ archive space

She provided autobiographical references and links to records, their purchase and the collectivity and intimate relationships which resulted during her early years in Oxford and the music business..

She went on the describe how her casual work in the archives of the Bodleian, as a student, gave her access and insight into what she described as, Gothic, chaotic, mysterious and leaky space which was very different from the ideal library structure visible above.

Her Methodology – What she puts in and what she leaves out 

This section made a huge impression on me… for better or for worse….

Price explained how she refuses to or cannot work reductively.She claims that the aspiration to be concise,m in her opinion, can have damaging side-effects and that truly concise is good but a failure is not so good.

She tends to work with Saturation , full and coagulating ( I feel this is more like my way of working… but whereas her work comes across as multi-layered and considered I fear mine is often confusing.

So that she was not driven mad during her process  (and this surely gives clarity of a sort to her work) she uses Architectural structures to give a spatial configuration to her work.

[This made me consider a structure for my work on the Hill/ Something I had already discussed with Jonathan K. Structure to provide access and freedom rather than restriction.I though at the time of a Field Plan, similar to that used when I was a plant breeder, to provide a sequence and layout for the pieces…. but on consideration this may be too geographical 

Edit: April 2016 – I used a Calendrical Structure which fed into the concepts of Rituals and fixed time/dates.]

She also uses Storytelling to connect things together, related she feels to the spiral form of a record, a ‘radically accessible form’, which she described as ‘Promiscuous’.

i.e. as Google says:demonstrating or implying an unselective approach; indiscriminate or casual.
synonyms: indiscriminate, undiscriminating, unselective, random, irresponsible, haphazard, thoughtless, unthinking, unconsidered, casual, careless

I agree with this interpretation as defined- for me the story or narrative is embodied,  then remediated as retold verbally or otherwise, connecting people, place and events just such a manner, which renders it so powerful…and penetrating ..like a meme but one that as Price describes, brings all sorts of things together, together.

I hope this will be evident in my work, in a non-linear form with non-architectural or geographic/ cartographic structure.

The result in Price’s case is a Hypnotic Double Screen video.

She describes : A reckless and dangerous restoration with love,commitment and a libidinal drive with moments of intoxication.

She finished her lecture by saying that ( I think, if my notes are correct)  that it is not necessary to restore.

That it is, in fact, an affront to do so.

 That we must live with this damage.

A powerful contemplation to end with.

 Questions

I asked if Copyright was a problem, using found material in her work…especially in view of our recent lecture etc.

She answered simply ‘Yes’! and that she didn’t own the Copyright to the Crystal Gayle material that she uses so much in her work ( Though not in this piece!)

She also described how she uses the synthesised voice to provide an affectless narrative by using text to voice software…Claro read or similar I guess.

Something to play with in the future….

She also said that making the video ( 3 years work) meant that she was in a darkened room and was now taking a break and painting…feeling the joy of a drop of paint on the end of a brush!

This lecture was key to the acknowledgement of Saturation and as she said…putting it all in.

I decided to go for it, layers and all even if there was no linear or three dimensional structure….and risk confusion as the result if I made the themes too implicit.

Experimental Group Tutorial and Tutorial with Rosie Sherwood

Experimental Group Tutorial: 25.2.16

After my Group Tutorial fiasco presentation in the first week of the Low Res, I decided to prepare a selection of images to refer to and talk around in the Experimental Group Tutorial in the second week.

I had no idea about what format it would take so it was a daft idea really but the sudden realisation that I can’t do ‘these things’  things on the fly anymore made me need to plan, even for something I knew nothing about….interesting concept.

Jonathan described to us a way of encouraging personal reflection during this Tutorial.

Each of us in turn described a single question we had about our own work, arrived at through about 10 minutes of silent contemplation.

Then we explored this through members of our group asking only open questions about our question. Quite an interrogation, as it turned out.

I was in a group with Sharon and Philip, which I was happy about and felt comfortable with.I think this helped with the process, especially as it was the first time we’d tried it.

We were generally pretty good at regulating ourselves and each other regarding not commenting and not asking closed questions, so I felt the whole process was very useful…though not easy either as a questioner or as the one being questioned.

There were quite a few times when I was wriggling around in physical discomfort at the issues I was ‘forced’ to confront… barriers I was aware of and that I was party to in my own development.

At the end, when we had all had ‘a turn’, we had another reflection and chance to write down our conclusions.

My question was

How do I balance the local/social/political aspects of my work with any national/political  concerns without one overwhelming the other?..(particularly when working at certain sites)

I don’t remember the questions that I had most difficulty answering and didn’t write down lots of notes doing the process, partly because one member of the group was recording all the sessions but also because I didn’t want to stop the ‘flow’ of gradually realisation..

There were 2 key questions that I must still ponder upon..

Where am I a local?

What do I mean by external expectations?

These are key questions form the point of view of audience and participation/ collaboration.

One decision that I formed afterwards ( which is of course still open to change..)

To make choices of materials for inclusion in my work using a ‘chance’ system similar to the one used but John Cage – Philip mentioned Metamorphosis ( interesting as I have been researching the iChing for a while now).

This would remove personal choices and influence at any one time…

But there would be some structure within the categories of materials accummulated.

This idea of a paradoxical arrangement between structure and chance comes up again below

Tutorial with Rosie Sherwood : 1.2.16

She did the MA Book Arts at Camberwell some years ago and runs a publishing company.

We had a lecture on her work on a Live Stream.

Her work is  based on meta-comics…comics about the structure of comics.

 

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Elbow Room – Rosie Sherwood
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She Must – Rosie Sherwood

As a last minute thing I had the chance of a tutorial with Rosie Sherwood. I booked in because

  • Its always good to have another set of eyes to look at your work.
  • I’ve been thinking long and hard ( draft post…) about the non-linear narrative in my work and how to best represent that…struggling with Storify and video…. thinking about magic realism and how that works in literature to fracture narrative.
  •  I’d had a brief look at on-line comics some time ago and how they function with linear and non- linear narrative.
  • Ideas of truth and fiction
  • I like books and was considering going on a Book- making day course  next weekend.. just because.

The Tutorial was very enlightening and inspiring.

I’d already got the images below for her to look at whilst I described my work.

Almost instantly she saw ‘ a book’ in Ordnance Survey, which I hadn’t noticed… the laminations as pages.

How could I not have seen that!!

I was so excited that I talked too much and listened too little… but here below are some of the key nuggets for future use.

  • Comics are about Time and Space.
  • Rosie has investigated the comic format because of this relationship – especially with time
  • The comic explores the boundary between books and other genres
  • The panels offer a structure but also freedom
  • Although here is a linear format of panel, reading takes place across panels and ? ‘trips the structure’ into a non- linear narrative as the reader works across the structure.
  • The spaces below the panels are known as the gutter ( the white spaces). These operate between the creator and the comic and leave space for the imaginatio

She suggested that with any participative event that there maybe some opportunity for participants/ audience to feedback other than just through direct participation –

This maybe particularly relevant regarding the occurrence of coincidences…I guess it depends on whether or not I want these to be recorder or documented… or just assume they will happen and that I will be made aware of some of them through general conversation…

She suggested that I try working with Storify but just using images instead of using as a text-based platformand working with the layers of history in this way

Maybe I will use the images that I used in the short video but in Storify and see what happens then.

She also referenced Concrete poetry which I had explored a little but then discarded

Maybe time for a re-think

” Building Stories in a box”

This is something I did in my Foundation and often think about… making a structured no-linear narrative..

Maybe I could investigate this…if not for this work… in the future…

As I write this I am thinking about the memory boxes that are used in Reminiscence workshops with people with dementia!

 *KEEP THIS THOUGHT*

Maybe use all these ideas together!!!

She gave me the following references

The Unwritten – Mike Carey

Understanding Comics – Scott McCloud ( which is written as a comic)

Artists as Cartographers – Walking and mapping by Karen O’Rourke ( which I took out of the library some time ago… should re- read now I know why I’m getting it out!)

I may have lost a Post-it and if so this Post will be updated…again!

Notes for Research Discussion Thursday 11th February 2016

 The start of my Research and Practice last year

Autobiographical memory, Collective memory (Halbwachs) and the concept of Archive ( Derrida)

With performative aspects based on ritual practice ( Turner and Rothenbuhler) and personal and collective mythology.

Development of Practice

Layered projections and investigations of Immediacy/ Remediation as a process,

Initial exploration of  ‘The Reading Room’  thinking about archiving, witnessing and documentation; and then remediation of ‘events’ through conversation, news reporting,  and links with digital networks  i.e. dissemination.

 

which explores the collective memory and ritual action within a rural village community space and their relationship to global networks and systems, including nearby RAF Croughton, a USAF Communications Base.

I also set up a ‘re-enactment’ of the Reading Room in an Open Event, where I furnished the room with newspapers from global locations collected over the period of my visual research, held participative activities using print and newspaper text and  re-mediated the video by playing it back to the group who featured in it, and other participants;

 

A Live Stream and mobile phone communication was set up to link with the Interim Exhibition but wasn’t possible as there was still no BroadBand  or mobile phone signal in the building or in the immediate area.

The coincidences and contingency (and re- mediation through participation) which occurred within the video footage and the live event were central to my methodology.

Research Paper 

My Research Paper developed from further investigation of this location but lead me into unknown territory through deeper research into the archaeology, history and contemporary activities  within the Reading Room, RAF Croughton and the surrounding area.

I was confronted with concepts of Space that I hadn’t encountered previously.

My investigation became cross-disciplinary, (archaeology, geography, philosophy) with somewhat similar concepts being expressed differently in each.

The research paper developed initially from the concept of an archaeological palimpsest.

I found the structure and format of the paper almost impossible to fit into a formal academic structure but this informed my thinking about the content, the process of writing and my practice.

They all became one.

After completing the research paper I looked back over my work of the last 10 years beginning  to re-assess my past work in the light of this appreciation of space, and then to make recent  work including 2nd December 2015 – spaces in production

this video

and  Ordnance Survey.

I do this by

  • visiting places
  • investigating them as spaces, their ‘layered’ historical and present action,
  • making something,
  • placing what I have made in the location,
  • broadcasting all these actions via Periscope
  • experimenting with making video from documentation images and appropriated images from web media sources.

 

I request that the The Research Discussion on Thursday afternoon will be in the following format ( All timings are approximate!):

Please read the linked notes before the session

Discuss:

  • Bailey’s concept of palimpsest and time perspectivism (for 10 minutes). Bailey Summary
  • Doreen Massey’s thoughts on space (for 10 minutes.)Doreen Massey Summary and this interview on video if you have the time to watch.Even the first few minutes are useful 
  • Lefrevbre’s Production of Space- Social Space ( much simplified)  (for 10 minutes) Lefebvre Summary

How does Bailey’s paper relate to the others through understandings of a material (and temporal ) record within the landscape of human action,  the production of a social space through time and geographical space, and Massey’s thoughts on simultaneity?  (for 25 minutes).

Short Break to look at blogs and video links  ( for 10-15mins)   Discussion within  the group  will continue.

Are these themes visible  in my work and if so where or where not.?

What other themes are visible ?

General Feedback and any other comments general on work and working process.

( 15 minutes)

Key Artists and works:

http://www.penkilnburn.com/about/

 Allan Kaprow and Fluxus

Ann Hamilton

 Joan Jonas 

Situationists

http://paulhurley.org/about/

Redacted Vocabulary and thoughts for the future

I really struggle with the vocabulary of what I do now .. art/ social science and critical thinking come hard to me…unlike biological language which I absorbed over a long period of my development and feel intrinsic to my understanding of some systems.

I struggle with Deleuze and Guattari’s principle of rhizome..not the concept itself but the description….to some extent a challenge of what I understand about rhizomatic roots as a botanist .. see this post The Affect of Philosophical theory in the exploration of non-linear narratives!

Some important new to me terminology here

Redaction is a form of editing in which multiple source texts are combined (redacted) and altered slightly to make a single document. Often this is a method of collecting a series of writings on a similar theme and creating a definitive and coherent work.

It is also used to mean the censorship of documents before publication by removing or obscuring it, while still making it clear that the information has been removed, for example by blacking it out, or by replacing it with a note. ( another quick Wiki reference confession)

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This is the sort of the process I am using to assemble material which I then remediate through the work I make and as part of that work through social media Periscope …..…a sort of time space /collage maybe or an assemblage

Ideas for the future: include ? Events at my house and in other locations.

I found these images of Jenny Holzers  Redaction Paintings at acca Melbourne in 2010

She said in the interview “I use everything”..………projections

 

Key Points Reflection and Procedure

It’s been some time now since the end of Unit 1 and our assessment and feedback.

After leaving some space and starting to make new work this term, several things stand out as being most valuable from writing the Research Paper and experimenting last year.

  • The research paper highlighted concerns which existed strongly in my past practice  but I have other theorists to these explore 

I’ve probably written this before but am doing it again to emphasise. I read this quote today wrt my other ‘work’. It is particularly relevant here.

 ” We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time.” 

T.S.Eliot (from The Four Quartets)

  • I am also trying hard to focus down on conclusions drawn from my research paper.

From the Abstract:

Collective events, individual action and embedded practice act through embodied memory and both material and immaterial remains, as manifestations of previous actions and relations.

These act reflexively in a continuing atemporal narrative process of actions, events, interrelations and subjective experience.

So I am exploring through my practice issues of duration and temporality, social space and geographical location, action to highlight ‘a simultanaeity of stories’ ( D. Massey ), impermanence and fluidity as below :

I am noting down my Aims and Objectives again from my updated proposal and plan to refer to these when Reflecting on and Analysing my work:

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 .

In Unit 1 I used the blog as a personal journal of fairly relevant material and documentation but with no clear objective more from the point of view of exploration.

My practice tends to lack clarity in intention and some of this is the core to my work I feel.

I do not want to to be didactic and positively encourage coincidence and open interpretation, happenstance etc.

I have been encouraged away from the literal but realise that this often obscures any message I may have.

I really need at this stage in the MA to work out the parameters for any message- for it will never be linear- but cannot continue to be so vague.

I must work in a much more structured way.

Variations in my ability from day-to-day and hour to hour mean this is even more important.

I am going to try change the way that I post my reflections and analysis to this end.This means

  • I will limit my ‘Categories ‘ to help me concentrate on key issues and not waffle. EDIT June 2016: In fact I have increased my categories as I found them very restrictive but used key headings for the purpose of accessibility for my own reflections and assessment 
  • Because of the locations I’ve been investigating and some of my refections I’ve decided to change the visibility of some of my posts.EDIT June 2016 : I’ve made several videos Public and allowed embedding but then kept the posts Password Protected.
  • I’ve also realised that I  have become re-active rather than pro-active over the last…..years for a variety of reasons. This is inevitably part of my work, and I do not want to change that. EDIT June 2016 : I think this has changed and I have taken more control over the origin of my work if not the contingent activity within it 
  • BUT one of my tasks for this Unit is to reduce distraction and focus on the essentials I want to demonstrate. Not easy for me. ‘

 

‘Say what you want to say plainly and then take responsibility for it’

Ai Weiwei

My work may have layers of meaning but I really need to trust that the layers and ripples can echo out from simple action… after all that is what I am saying anyway…!

I needed to write this post as a short Affirmation/ Confirmation to return to throughout this final Unit.

14th November 2015 : waking up.

When I woke the next morning……having not seen any news the evening

before……I looked at on my phone straight away as I usually do.

I felt my actions the day before 13th November and  13th November continued were somehow prescient.

‘The Paris attacks’.

I haven’t got screen shots of those images as I was too shocked and concerned for people I knew of who lived in the area or were visiting.

This image here, now all too familiar.Screen Shot 2016-01-20 at 09.32.52

and these from the Guardian,  images of many of the Front Pages of newspapers from around the world.

The shock changed into something else…..a feeling that as I was walking, thinking and acting so other actions were taking place simultaneously, elsewhere.

As mentioned in my previous post I’d been thinking about weaponry/ munitions, the actions performed  and the ritualistic nature of  their use in the  17th century ( and before) and in the present day before visiting Kineton, because of its association with storage of ammunition over many years.

The fact that these actions are played out globally not locally, in several places at one time but the ‘placement’ of these essential objects of this particular ritual are centred on this one location: one with such historic significance in the development of British politics and social history because it’s association with the start of the English Civil War.  See from this quote below from Caroline Wyatt in the Daily Telegraph 12th August 2012

The level of stocks held by the MoD only becomes clear when we visit Europe’s biggest ammunition depot, as we track the bullet on its journey from the factory. The depot lies in the tranquil countryside of Warwickshire, where Lieutenant Colonel Simon Hirst, the head of establishment for Defence Munitions Kineton, looks after several square miles of ammunition stores. Security is tight for the £2 billion of ammunition kept here.
“We are capable of storing about 50,000 pallets of ammunition,” he says, gesturing at row upon row of tidy boxes, stacked tightly from floor to ceiling in one of Kineton’s many warehouses. “We’ve been supporting defence since 1942, from operations such as Bosnia, Kosovo, the Gulf and more recently Afghanistan, as well as the campaign in Libya.”
From Kineton, the ammunition destined for Helmand goes to RAF Brize Norton, where it is flown to Afghanistan in a huge RAF C17 aircraft, landing at Camp Bastion, the UK logistics hub in Helmand.

My visit to the sited memorial  the previous day, hearing the distant deep explosions, somehow ‘sensing’ the history of past events from a psychogeographical point of view ,seeing the museum displays of  flintlock pistols, pikes and other weaponry and then the unfolding of events in Paris…..all these things reinforced the theories discussed in my Research Paper  see for Bibliography citations below.

From the Abstract:

Collective events, individual action and embedded practice act through embodied memory and both material and immaterial remains, as manifestations of previous actions and relations. These act reflexively in a continuing atemporal narrative process of actions, events, interrelations and subjective experience.

Temporal boundaries between present and past are arbitrary; the boundary is an ‘illusory’ horizon similar to the perceived physicality of the visual horizon.

Doreen Massey states:

‘space is always under construction, a product of relations between, relations embedded in material practices in the process of being made, never closed or finished.’(Massey, 2005 p9)

Lefebvre’s ideas on space regard places of social space as combined, superimposed and colliding; the local never absorbed regionally, nationally or globally (Lefebvre, 1991 p 88). He states that nothing disappears completely, earlier actions remain to underpin what follows; not just traces, memories or relics are left behind, instead, preconditions of social space endure and remaining real within that space (Lefebvre, 1991 p229).

Concluding:

Collective events, individual actions and embedded practice act through embodied memory and both material and immaterial remains – manifestations of previous actions and relations reflexively producing interrelations which occur within and between the communities ( locally and globally ).

Rather than being distinct, they are interwoven and accumulated in a continuing process of interrelations and material remains occurring within a durational present free from temporal boundaries. Subjective experience, individual small actions and larger events contribute to a narrative and constructed environment with equivalent significance in a cumulative continuum.