I have 3 days before I hand in my work. Will I be happy with it as it is? Not really, its doesnt have the flow and the less obvious side to it Its more obvious but at the same time it illuminates a little of what was going on, who was part of the it and thats important as an additional layer. It also uses other peoples art work to express that.. someone elses music and photographs, which add to it massively. I still ahve a desire for newspapers but cant seem to access those BL as I had hoped for I could try again but I do need to focus and make best of what I have than keep adding, at some point there has to be a point to go thats it, for now.
I try and add by accessing from here again and then go to the library for assistance - I couldnt get into anything from they sent me a as a link I needed I was given this week. What I've further realised and experienced is how much research, archive material costs... photocopies of pages at Newspaper library and having to wait 5 days for some things to be delivered etc. I need to add that to my write up in some way- I could also email felicity etc for photographs? Or bug the SP lot more for the photos and the old copies of the paper as I do have some time to pick some dates and do copies. I need to be specific - and forethink what I might need rather than ramble through some of it. I did pick dates when I was at the BL and that really helped - I need to write up those dates so that I don't loose that info too. A question I have to keep asking, what will this bring to the production of this project and my learning and development. They are different things and this is the practical piece of the project so that is the most important but proces, who is making, why and how will it be distributed have been, are also key.
The deadline is drawing near but i seem to be unreal around it... I am not awake thinking about it but perhaps the huge energy and space I gave to the 2 weeks work in progress installation and studio development took a lot out of me but also brought this project out to the academic space I am within, slightly more focused than last time. It meant I could show DS the work in the gallery and meet with SUZ muna, get access and also get to see her work directly and consider other projects and works.. The mug project is but one...
I want oer 50% and really I want over 60%! but I need to make sure that happens by what I write so they can see the relationship between the theory and practice, rather than randomly, and what is influencing each part of those and why this in the context of the MA for part of my life but is not jsut for academic use. What I got from being here - kit, skilled technicians, badly used and engaged with at the best but still, (on my part mainly - never know what I can ask or what I should be able to ask and who and for how long and for what?)
I want to show an alternative, and that you and I are part of that alternative not enough, or something I want to do, is show the the shocking events of the past but they are important as part of a process to express patterns of behaviour, by whom and for what purpose and why indeed, I need to do the work that I am doing - they are part of an ideology and ideolgical processes.
- Thinking - Ask bfi if they will have 'socialism on trial' ?
- Ask BL for archive of paper? and maybe LCC archive to get it accessible?
- Consider where a project on the 47 could be housed in the curriculum?
Context of that period - Torys, Miners, wapping, BT sold off, GLC and councils, 1982 laws - So much happened.
Friday, 20 May 2011
Monday, 16 May 2011
Ramblings..
Collaberation via the odd text and a breathless telephone call on the odd occaision is deeply limited. However, we have both got this far.
Today I heard this was the end of the work??? I had thought tomorrow.
Visiting the NPG as part of its Lates season made me think again about audiences, much of my paid work has been about access to arts and film, who comes in who can use the medium and issues around distribution.
I was an accessible product but I dont feel that an accessible, traditional model of narrative is it.
Multiscreen for space, giving profile to art? past and present relationship of artists - one is paid another does not want money in the equation.
Some notes which I picked out: From FREE handout you can pick up as entering TATE gallery space.
BURKE & Norfolk - Photographs from the war in afghanistan
My initial reaction was too pretty... in his explanatory piece about his work, its not about the medium but use of it and beauty is a tactic to draw people in???!.. people are 'tricked into engaging.. seduced"
Simon On JBurke
"Imperialism is what interests me more than anything. ... I immediately saw a cycle of imperial history right there.
"burke is a more complete photogprher ... no formal visual training" "felt I needed to go to afghanistan to walk in his shoes"
TATE FILM - Pere Portabella
page 3 - Both political and matieralist avant garde of the 1970's and 1980's. ..interroagates the indexical bond between image and ferent; his use of structural materialist devices to loosen this bond serves to focus the vieewier attention on thier role in the political and cultural processes of the circulation of meaning."
Relationship between Pere Portabella and Joan Miro makred by the political commitment that both creators sought through asestic rather than directly political rebellion"
Me - watching I feel better here and I feel worse int he TATE modern.. mooving imae. more art than traditional work. use process to deepen understanding of work and style and why that is different. we constructed this.
PG 7 - 'you cant understand liberation if you dont begin to understand yourself'
Today I heard this was the end of the work??? I had thought tomorrow.
Visiting the NPG as part of its Lates season made me think again about audiences, much of my paid work has been about access to arts and film, who comes in who can use the medium and issues around distribution.
I was an accessible product but I dont feel that an accessible, traditional model of narrative is it.
Multiscreen for space, giving profile to art? past and present relationship of artists - one is paid another does not want money in the equation.
Some notes which I picked out: From FREE handout you can pick up as entering TATE gallery space.
BURKE & Norfolk - Photographs from the war in afghanistan
My initial reaction was too pretty... in his explanatory piece about his work, its not about the medium but use of it and beauty is a tactic to draw people in???!.. people are 'tricked into engaging.. seduced"
Simon On JBurke
"Imperialism is what interests me more than anything. ... I immediately saw a cycle of imperial history right there.
"burke is a more complete photogprher ... no formal visual training" "felt I needed to go to afghanistan to walk in his shoes"
TATE FILM - Pere Portabella
page 3 - Both political and matieralist avant garde of the 1970's and 1980's. ..interroagates the indexical bond between image and ferent; his use of structural materialist devices to loosen this bond serves to focus the vieewier attention on thier role in the political and cultural processes of the circulation of meaning."
Relationship between Pere Portabella and Joan Miro makred by the political commitment that both creators sought through asestic rather than directly political rebellion"
Me - watching I feel better here and I feel worse int he TATE modern.. mooving imae. more art than traditional work. use process to deepen understanding of work and style and why that is different. we constructed this.
PG 7 - 'you cant understand liberation if you dont begin to understand yourself'
Tuesday, 10 May 2011
The editor is now in Liverpool..
Hmmm so now how do we work? Can we work by texts? Not really... so my hodge podge skills are going to have to pick up something big time. Need to spend 2 days this week and several days next week whilst also trying to write the 2000 word document which states where the project is at, why its 20 minutes rough cut or segment? Why documentary, why challenge of forms and content?
Considerations around collaberation
Within academic context
Work of Suz Muna - the big mug project - artist and trade unionist
work of Dave sinclair
Access to SP archives
Access to SP footage
Could I get footage from John Hamilton footage of film 'Socialim on Trial'?
Distribution strategy linking to GLA elections? Maybe so there is a deadline of March 2012? Link to festival deadlines? - Sheffield? LFF? Sundanace? ITVS?
Look at crowd funding versions and maybe link to 3-4 countries -
(oh and thank you to anna and students & Dave and Suz Muna)
Considerations around collaberation
Within academic context
Work of Suz Muna - the big mug project - artist and trade unionist
work of Dave sinclair
Access to SP archives
Access to SP footage
Could I get footage from John Hamilton footage of film 'Socialim on Trial'?
Distribution strategy linking to GLA elections? Maybe so there is a deadline of March 2012? Link to festival deadlines? - Sheffield? LFF? Sundanace? ITVS?
Look at crowd funding versions and maybe link to 3-4 countries -
(oh and thank you to anna and students & Dave and Suz Muna)
Friday, 6 May 2011
Hot and sweaty!
Nah none of that! Under some pink lights for a huge part of the day.. and ran round madly when i realised I had not enrolled onto the course so they were NOT going to let me in today... Now I am enrolled and I owe them..
BUT - We are here.
Up at 6am to work on a presentation which will be a good starting point for 2000 words which will accompony this and a DVD of the project.
Anna has been flexible and fair giving me time and space to incorperate this work and test out how my process works.. its an installation.. A messy hodge pode of de-constructed process.
Some things from today and late last night...
Purpose of art
types of documentary and ideas embedded within them..
Why do I want to engage - texture...
Collaberative process
Ideas of objectvtity
Whose memory and what does a mass mediation do to our memory
how do we hold onto them as people are engaged.
What will I do with the ideas
Visual memory helped
Liked Talking heads with images
Aural memory
History or relevance
Not that subliminal
Public memory
Possible onto youtube - these are the ingredients that make up a installation.
Your room, invite people, papers, banner, activist.
Feedback
Human connection..
EMAIL anna - for her group
BUT - We are here.
Up at 6am to work on a presentation which will be a good starting point for 2000 words which will accompony this and a DVD of the project.
Anna has been flexible and fair giving me time and space to incorperate this work and test out how my process works.. its an installation.. A messy hodge pode of de-constructed process.
Some things from today and late last night...
Purpose of art
types of documentary and ideas embedded within them..
Why do I want to engage - texture...
Collaberative process
Ideas of objectvtity
Whose memory and what does a mass mediation do to our memory
how do we hold onto them as people are engaged.
What will I do with the ideas
Visual memory helped
Liked Talking heads with images
Aural memory
History or relevance
Not that subliminal
Public memory
Possible onto youtube - these are the ingredients that make up a installation.
Your room, invite people, papers, banner, activist.
Feedback
Human connection..
EMAIL anna - for her group
Thursday, 5 May 2011
Feedback from Ben P
Being forced into sitting with people as they watch is actually a good process. I am more focused on what is being looked and why.
Ben P just popped in and ended up having to watch the very first skeleton version of the documentary. His comments:
Small pictures ok on this screen but no good for TV
Good interviewees with lots to say and articulate - but also used to being speakers. Is it meant to be talking heads or a more visual film.
Worry about the timing, if you never get it finished then it will no longer be relevant or timely.
Consider introducing characters more, they go straight into the story.
Good to see people in situation.. noting issue of illness and disability.
Consider what happened in popular - maybe slogan?
Can't see relevance of the past into the present except round the room.
Most of the above is in consideration. The version he saw was the first very basic one. I need to get rid of the cutaways off the timeline to then get just the film. So I can export it tonight and have it to watch here and at home before tomorrow. And work out what I wanted to present.
Ben P just popped in and ended up having to watch the very first skeleton version of the documentary. His comments:
Small pictures ok on this screen but no good for TV
Good interviewees with lots to say and articulate - but also used to being speakers. Is it meant to be talking heads or a more visual film.
Worry about the timing, if you never get it finished then it will no longer be relevant or timely.
Consider introducing characters more, they go straight into the story.
Good to see people in situation.. noting issue of illness and disability.
Consider what happened in popular - maybe slogan?
Can't see relevance of the past into the present except round the room.
Most of the above is in consideration. The version he saw was the first very basic one. I need to get rid of the cutaways off the timeline to then get just the film. So I can export it tonight and have it to watch here and at home before tomorrow. And work out what I wanted to present.
Monday, 2 May 2011
assemble or collect..
Is it a collage of photos or an assemblage?? oh la la
Assemblage (art)
From Wikipedia, the free encyclopedia
Robert Rauschenberg, Canyon, 1959, Assemblage: oil, housepaint, pencil, paper, fabric, metal, buttons, nails, cardboard, printed paper, photographs, wood, paint tubes, mirror string, pillow & bald eagle on canvas, National Gallery of Art, Washington, DC.
Assemblage is an artistic process. In the visual arts, it consist in making a three-dimensional artistic composition from putting together found objects. [1] In literature, assemblage refers to a text "built primarily and explicitly from existing texts in order to solve a writing or communication problem in a new context".[2]
The origin of the word (in its artistic sense) can be traced back to the early 1950s, when Jean Dubuffet created a series of collages of butterfly wings, which he titled assemblages d'empreintes. However, both Marcel Duchamp and Pablo Picasso had been working with found objects for many years prior to Dubuffet. They were not alone. Alongside Duchamp, the earliest woman artist to try her hand at assemblage was Elsa von Freytag-Loringhoven, the Dada Baroness. In addition, one of the earliest and most prolific was Louise Nevelson, who began creating her exciting sculptures from found pieces of wood in the late 1930s.
Assemblage (art)
From Wikipedia, the free encyclopedia
Robert Rauschenberg, Canyon, 1959, Assemblage: oil, housepaint, pencil, paper, fabric, metal, buttons, nails, cardboard, printed paper, photographs, wood, paint tubes, mirror string, pillow & bald eagle on canvas, National Gallery of Art, Washington, DC.
Assemblage is an artistic process. In the visual arts, it consist in making a three-dimensional artistic composition from putting together found objects. [1] In literature, assemblage refers to a text "built primarily and explicitly from existing texts in order to solve a writing or communication problem in a new context".[2]
The origin of the word (in its artistic sense) can be traced back to the early 1950s, when Jean Dubuffet created a series of collages of butterfly wings, which he titled assemblages d'empreintes. However, both Marcel Duchamp and Pablo Picasso had been working with found objects for many years prior to Dubuffet. They were not alone. Alongside Duchamp, the earliest woman artist to try her hand at assemblage was Elsa von Freytag-Loringhoven, the Dada Baroness. In addition, one of the earliest and most prolific was Louise Nevelson, who began creating her exciting sculptures from found pieces of wood in the late 1930s.
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