Nice, secluded
slightly cut off space. Quite intimate, cushioned. Plinth, mp3s, instructions,
comfy seat. Can be static, can be mobile.
Let them be.
Allow it.
Final Piece
27/04/2015
Research | One to One Sessions | Reflecting on my practice | Timetable and Action Plan
Week One
Week Two
Week Three
Extension Weeks
Build show piece -
- Research
- Observations
Week Two
- Responding to research and observations
- Experimenting with existing text
- Half week audio
- Other half text
Week Three
- Combining the two
- Finalising piece
Extension Weeks
Build show piece -
- Tidy area
- Create seating area
- Audio piece
- Written piece
- MP3s and Headphones
- Stand for these? Or place on seating area
- Short quick instructions
26/04/2015
Research | Book | Against Expression | Conceptual Writing | William Burroughs
This set of research is aimed at looking at various ways Artists and Writers experiment and use existing texts, by doing so i'm looking at ways I might explore, experiment and present my already existing transcript for the end of year exhibition.
Through past research and my dissertation focus into Brion Gysin's discovery of the Cut Up technique, I have some substantial knowledge into the work and uses of this technique by William S. Burroughs.
The use of the cut up technique reforms and reimagines already existing text and purposeful placement of words, in turn making sense in part accidental rather than a writer purposefully stringing sentences together to create full and meaningful works of fiction and non fiction. By freeing the words it seems to open up new interpretation and ideas to enter and leak in. This use of an artists technique as a writer has formed a more free flowing way of writing, keeping the artists or writers personal involvement to a minimum through this act of chance.
Through past research and my dissertation focus into Brion Gysin's discovery of the Cut Up technique, I have some substantial knowledge into the work and uses of this technique by William S. Burroughs.
The use of the cut up technique reforms and reimagines already existing text and purposeful placement of words, in turn making sense in part accidental rather than a writer purposefully stringing sentences together to create full and meaningful works of fiction and non fiction. By freeing the words it seems to open up new interpretation and ideas to enter and leak in. This use of an artists technique as a writer has formed a more free flowing way of writing, keeping the artists or writers personal involvement to a minimum through this act of chance.
25/04/2015
Research | Book | Against Expression | Conceptual Writing | Charles Bernstein
This set of research is aimed at looking at various ways Artists and Writers experiment and use existing texts, by doing so i'm looking at ways I might explore, experiment and present my already existing transcript for the end of year exhibition.
My/My/My by Charles Bernstein is a comment on fiction writing and the authenticity of the voice of the protagonist. By using 'my' followed by a thing we learn nothing about the author or character in question, it's simply a list of ownership that doesn't give us further description or understanding.
For me the idea of listing these objects and items with this continuous connection to being owned by someone creates this unknown, the first person narrative simply just connects these together, no more no less. The audience doesn't connect to the character in a way they might while reading fiction books, the structure makes it readable but not connecting as such.
My/My/My by Charles Bernstein is a comment on fiction writing and the authenticity of the voice of the protagonist. By using 'my' followed by a thing we learn nothing about the author or character in question, it's simply a list of ownership that doesn't give us further description or understanding.
For me the idea of listing these objects and items with this continuous connection to being owned by someone creates this unknown, the first person narrative simply just connects these together, no more no less. The audience doesn't connect to the character in a way they might while reading fiction books, the structure makes it readable but not connecting as such.
Research | Book | Against Expression | Conceptual Writing | Fiona Banner
This set of research is aimed at looking at various ways Artists and Writers experiment and use existing texts, by doing so i'm looking at ways I might explore, experiment and present my already existing transcript for the end of year exhibition.
Responding to a series of fictional films about the Vietnamese War, Fiona Banner has created a 1000 page epic using a mechanical response to the films to proved a written representation of these. Alongside her gallery practice Banner produces conceptual writing books that provide a link between the two forms of work and presentations.
My own understanding and response to this is that by creating this epic through the mechanical writing process, Banner has linked up these fictional films under the same subject to create a further fictional representation of the Vietnamese War. By connecting these together it seems Banner is connecting her subconscious thoughts between her own thinking and response to these popular culture films that are another persons reflection and fictional writing of a real event. It becomes a series of layers from true events, to writing based on this, to a visual cinematic response to then a viewers own response. Banner's writing connects personally to her, not in the means of personal thoughts and connections, but more on how she becomes the link between the subject and the work, it links through her actions of writing and that's how I feel my work has developed, this matter of working but not having this personal connection to it. Banner to me is an observer also and her writing becomes an extension of this.
Responding to a series of fictional films about the Vietnamese War, Fiona Banner has created a 1000 page epic using a mechanical response to the films to proved a written representation of these. Alongside her gallery practice Banner produces conceptual writing books that provide a link between the two forms of work and presentations.
My own understanding and response to this is that by creating this epic through the mechanical writing process, Banner has linked up these fictional films under the same subject to create a further fictional representation of the Vietnamese War. By connecting these together it seems Banner is connecting her subconscious thoughts between her own thinking and response to these popular culture films that are another persons reflection and fictional writing of a real event. It becomes a series of layers from true events, to writing based on this, to a visual cinematic response to then a viewers own response. Banner's writing connects personally to her, not in the means of personal thoughts and connections, but more on how she becomes the link between the subject and the work, it links through her actions of writing and that's how I feel my work has developed, this matter of working but not having this personal connection to it. Banner to me is an observer also and her writing becomes an extension of this.
24/04/2015
Research | One to One Sessions | Reflecting on my practice | Notes on Exhibition piece
I am an observer of
language
When I mess about
with it too much it becomes forced
Start with an audio
instead of writing
No- as well as
writing
So there’s the
transcript of the interview the talk
And then there’s the
audio- the audio will respond to the writing.
These are parallel
parts.
They disengage and
re-engage
It is an attempt to
represent what we read and what we hear and how we might engage with these 2
different things.
Dworkin and
Goldsmith- artists responding to work.
Description/response
Response/description
Want to apply some of
this critical perspective or framework to my own work and in particular use this
collection of texts to explore how others have done this before me- to enable
me to respond fluidly rather than forcefully.
The works I will use
to experiment with are 3 interviews with students.
I already have the
audio and text.
I want to play with
the audio.
No more than 2
minutes. This will allow for the audience to respond. I need to make a space
for the audience to hear read and respond. It needs to be conducive; people
need to be clear about what they can do in the space if they want to.
This will also allow
me to explore observations of how we read and how we listen. An example is the
ticket machine. This is my research- primary research in a way.
I want to create,
play with the transcript. Try some of the anthology examples as a way of practicing,
playing, just to keep me fresh. I can refine what I’ve done later. Playbox,
tool box.
Some of this has
grown as a response to and from the sound booth experiences gained through creative networks interviews. I’ve been living audio and text for so long.
Research | Book | Against Expression | Conceptual Writing | Monica Aasprong
This set of research is aimed at looking at various ways Artists and Writers experiment and use existing texts, by doing so i'm looking at ways I might explore, experiment and present my already existing transcript for the end of year exhibition.
Here Poet Monica Aasprong deals with radically reduced writing, this piece Soldatmarkedet is a direct response to novels written by the poet where she began by removing letters from these ending up with a book only consisting of the letter t.
Through my own understanding I see this work to encompass all elements of Aasprong's past work, by reducing the text down to a single letter she has created a new piece of work out of the old. The book shows the use of a single letter throughout her work and the importance of not only the letter t, but also the importance of the others not present in this piece. By only showing one letter to produce a series of t's the work points out what isn't there as much as what is. It removes a sense of language, communication and structure that would have been present in the collection of work.
Here Poet Monica Aasprong deals with radically reduced writing, this piece Soldatmarkedet is a direct response to novels written by the poet where she began by removing letters from these ending up with a book only consisting of the letter t.
Through my own understanding I see this work to encompass all elements of Aasprong's past work, by reducing the text down to a single letter she has created a new piece of work out of the old. The book shows the use of a single letter throughout her work and the importance of not only the letter t, but also the importance of the others not present in this piece. By only showing one letter to produce a series of t's the work points out what isn't there as much as what is. It removes a sense of language, communication and structure that would have been present in the collection of work.
Research | Book | Against Expression | Conceptual Writing | Derek Beaulieu
This set of research is aimed at looking at various ways Artists and Writers experiment and use existing texts, by doing so i'm looking at ways I might explore, experiment and present my already existing transcript for the end of year exhibition.
Here Writer and Poet Derek Beaulieu responds to the Edwin Abbott Abbott's novel Flatland by identifying rules and structures of the writing and matching up the response. By doing so he reveals a physical representation of the structure of the language, making each part a new visible dimension of the original text.
To me this representation of the text adds a drawing like element to the text, unlike an illustration that represents the story, this drawing represents how the language and words are formed together. By doing so highlights the writers intent and interest in this as a subject over the exact meaning of the words.
23/04/2015
Research | Essay | Don't Say Yes - Say Maybe! Fiction Writing and Art Writing | Maria Fusco
During my one-to-one sessions with Karen we looked at researching further into art writing and courses available for myself if I was to consider doing an MA. During our research we came across a lecturer and academic Maria Fusco whose work follows this idea of art writing. Looking through a series of academic papers and essays, we found one called "Don't say yes - say maybe! Fiction writing and art writing." Through investigating this further we requested a copy at the library of which I've just received and read.
My own understanding of the text...
Fusco begins by explaining how an audience responds to and what we expect to encounter simply by a structure that comes in reading fiction or art. It is this response that may unhinge or disrupt viewing if it breaks from this structure. By going too far-off the structure in writing can be found to disrupt the audiences reading as they have nothing to relate to, in doing so makes the work messy and unable to capture an audience attention. Fusco suggests by creating something out of the norm, the audience starts to not predict the outcome through the structures of story telling and in turn experiences writing in a different way. The idea is that there are two kinds of writing fiction writing which follows the structure of storytelling and then art writing which breaks from that.
Having founded the journal 'The Happy Hypocrite,' Fusco addresses how there is a "lack of legroom for art writers to write away from the form of traditional reviews." From my understanding Maria Fusco is taking this idea of critical art writing and exploring how we can experiment with the tradition of critical writing to remain as critical writing, but becomes something different at the same time. By looking at fiction writing and other forms of writing we may learn how these structures or destroying/changing the structures form better written pieces for new ways to write about contemporary art.
The purpose of looking at art writing and experimental art writing is to explore different ways writing is involved within the art world. This very critical journalistic yet contemporary and experimental approach is something to consider through looking at my own practice as an artist and also my practice as a writer in terms of journalistic and critical writing. Art writing may be something to look at that bridges between the two practices better. By reading this essay I have an insight into how fiction structure and critical writing structure may vary or meet together to produce something very different.
My own understanding of the text...
Fusco begins by explaining how an audience responds to and what we expect to encounter simply by a structure that comes in reading fiction or art. It is this response that may unhinge or disrupt viewing if it breaks from this structure. By going too far-off the structure in writing can be found to disrupt the audiences reading as they have nothing to relate to, in doing so makes the work messy and unable to capture an audience attention. Fusco suggests by creating something out of the norm, the audience starts to not predict the outcome through the structures of story telling and in turn experiences writing in a different way. The idea is that there are two kinds of writing fiction writing which follows the structure of storytelling and then art writing which breaks from that.
Having founded the journal 'The Happy Hypocrite,' Fusco addresses how there is a "lack of legroom for art writers to write away from the form of traditional reviews." From my understanding Maria Fusco is taking this idea of critical art writing and exploring how we can experiment with the tradition of critical writing to remain as critical writing, but becomes something different at the same time. By looking at fiction writing and other forms of writing we may learn how these structures or destroying/changing the structures form better written pieces for new ways to write about contemporary art.
The purpose of looking at art writing and experimental art writing is to explore different ways writing is involved within the art world. This very critical journalistic yet contemporary and experimental approach is something to consider through looking at my own practice as an artist and also my practice as a writer in terms of journalistic and critical writing. Art writing may be something to look at that bridges between the two practices better. By reading this essay I have an insight into how fiction structure and critical writing structure may vary or meet together to produce something very different.
18/04/2015
Creative Networks | Research | Elaine Constantine
Research into Elaine Constantine for my interview at the April Creative Networks.
07/04/2015
Vlog | Crit Discussion | The Observer of Language and Communication
A brief discussion abut the current progress of my work and this idea of how I am an Observer of language and communication.
03/04/2015
Subscribe to:
Posts (Atom)