Writing Workshop 02: Re-cap on submission details

Today's writing workshop was more of a re-cap on what is expected at the hand-in, how to submit and just ensuring all were fully aware. The below information relates to Unit 01: CRP and study plan.

Critical Research Paper:

500 word introduction - What is the project about and where are you to date. 

MY PROJECT IS ABOUT . . . what has been done, existing practitioners and precedents and what is going to be taken further. It is a dialogue with others knowledge and ideas. How do your ideas fit in with others?

where bibliography is mentioned, this should include a list of all sources read to date. The same with the research folder. The research folder should be critically annotated and shown how it has be used [sources should be relevant]

Study plan:

Parts 1-3 to be completed [Other sections may be part filled] there is no word count for the study plan and the document reads best as a series of bullet points.

Context: Outline theory - Architects/ Designers/ Writers/ Theorists/ Processes

Outline major issues - field of study - research methodology - timetable [ October - Jan]

Method: Drawing / 3D models / Site visits / Artist Books [All work to lend itself to the concept of walking]

Both document will hold similar information and overlap. Both will give an area of interest/ case studies / research - previous work made and explored. Ensure that a real clear statement about your area/ topic/ issue/ question is made.

All work to be submitted via turnitin [online system that looks at referencing %] Turnitin will also email recipients and receipt of proof and a calculation of references used.

Submission requirements - all work to submitted as a word/PDF and file titles should include name E.G.: FARDELL_SP and FARDELL_CRP

Deadline 11th January 2017 12:00pm

Open Lecture Series 07: Chris Welsby

Chris Welsby is a painter by educational class yet, moved into the field of video art and film making and in particular the use of early experimental video machines. Know as a "weather artist" Chris Welsby's work becomes part installation when exhibited within the gallery space, with an emphasis on the weather being a participant in how his films are made.

Tree Studies 2006

 Working across a long spanned career, his work has always stayed faithful to his practice in looking at how the weather changes environments and how the natural world can become such a vehicle to drive ideas and play a vital part in the experimental, unpredictable and performative.  Early work and ideas incorporated the use of strapping cameras to wind veins that were singular powered by the natural wind speed. The films some how show a divide between user control and the release of the natural environment, producing films that could only be produced by the natural. Chris mentioned during the lecture that when he was studying painting he considered and reflected upon that "nature" always seem to play a part in the background, and was only ever present to support human activity that was the forefront subject. His work has therefore swapped these two participants in making the weather the star of the show.

Lost Lake #2 2003

At Sea 2003

 Much of Chris Welby's work once brought into a gallery environment considered the use of multiple screens and projections [often with the equipment in full view] Repeated footage was a common trend with slight overlaps and delays where the projector plays its organic role. The projector also played a role in providing the sound track. Many films were produced over long periods of days and weeks. With each film there was only ever the consideration of the filming device, location and time; everything else that made the work final was in the hands of the weather.

Words

Trajectory / Trajectories [Noun]

The curve described by a projectile, rocket, or geometry. a curve or surface that cuts all the curves or surfaces of a given system at a constant angle. Linked to the Projected

Syntatical [Adjective] Syntax [Noun]:
Rules and formation of grammar

Paradigmatic [Adjective] Paradigm [noun]:

Grammar - a set of forms all of which contain a particular element

Psycho-geography - Geography that emphasizes play and drifting around urban environments.

Transient [Adjective]:
Not lasting, enduring, or permanent; transitory.

Lasting only a short time; existing briefly; temporary -Only a short time/ impermanent

Pecha Kucha Presentation

File on the system by the allocated time of 10am. Presentation order was based on order of files so "fardell" gave me a kind "third place" [most named their file PechaKucha.] Twenty seconds a slide seemed to very vanish imminently as if time just sped up. Just another day at the office. . .

Pecha Kucha Planning

On Monday I will be required to deliver a Pecha Kucha presentation in the banqueting Hall. I know this space at Chelsea well, as I come here annually for the UAL conference. It is large and daunting and there will be a large screen, a microphone and a possible attendance of 57 people [2 tutors and 55 peers if it is a full house]. Traditionally a Pecha Kucha presentation is composed of 20 slides, each slide being presented for 20 seconds. I only have to present 10 slides "each at 20 seconds" so visual communication is essential. 3minutes and 20 seconds of stage presence is fine, I use to do more than that on a daily basis at work.

General rules being creating a Pecha kucha:
- Slides need to be have automatic timings
- Do not sure complex amounts of text
- Do not show big ideas of the first slide
- Organize information so that each slide connects with the previous and next
- Do not repeat content
- Each slide should communicate a clear topic, point or question


Elements to include within my Pecha kucha:
 - Mind map showing macro/micro context
- Theory
- Process of research
- Work made
- Precedents
- Development of work
- What next

My PechaKucha - The museum of the ordinary:

 

Tutorial Trauma

It has become highly apparent now that some of my peers are not interested in listening or contributing any form of supportive feedback or dialogue to anybody throughout tutorials. Some literally do not talk until they are asked to present their own work. With a little help form David Shrigley this is the impression I get.

This week led to new frustrations with the word "stuck" being thrown around a lot. Now I have had my moments of feeling lost and I am sure I have many more to come, but you overcome these, you discuss, research, question and filter what is and what isn't important to give yourself a new direction. What is annoying is that some of my peers are wanting to be told an answer in response to their "I'm stuck" question, and with a group of peers [a majority not really wishing to speak up] there is this pressure to contribute. there are probably five of us "including the tutor" who actually make an active contribution to every tutorial either by making a comment, asking a question, giving a reference or idea.

One of my peers [no names] after a rather awkward tutorial of which silence was the main component, came back into the studio on Friday to look for me; and wanted a tutorial. I do not mind for one second being as supportive as possible and with my existing role as a tutor outside of the course it is very easy for me to start to fall into that behaviors but if you want an effective peer tutorial then you have to bring something along!

Group tutorial 02:

Notes from tutorial:

Presented my over layed routes and started to discuss the making of the frame and how the body of work could start to come together. I was unsure with regards to unit 01: if the body of work submitted had to have some form of conclusive end point. Pete explained that Unit 01: was simply an inter-semester  submission that showed where you had come from, what you have done, what you are proposing to do next.

 

Discussion about systems and control

The Flanner - Walking as an art form

Go and visit White Chapel Archive [plan over x-mas break]

Read more about Mel Bochner

keep reading Peter Osbourne

"The walking book" not sure who the reference is?

Pete questioned my role within the project. Am I the curator, artists, architect?

Theory Lecture 06: The development of pictorial space

The space of paintings: The development of pictorial space

Byzantine: Figures occupy an anonymous space. the use of gold background [shown in dark reflecting spaces often lit by candle light in scared spaces]. The figures appear within an ambiguous space. The introduction of hatching is used to show garment folds and drapery. The paintings themselves hold an isometric projected view that were opposite to conventional standards of seeing. Styled representational figures towards the end of this period started to become more characterized showing personality.

Perspective and architecture used in painting started to give and promote different spaces. This was also supported and reflected by the characters painted and depicted a stronger presentation of the roles and narratives being communicated. The architecture started to play a significant role in understanding this 2Dimensional space.

Masaccio [1425] - Perspective and the painted frame is now introduced. the architecture now gives you levels of reality and non-reality. There is a shift in the co-existence of time realms being portrayed. paintings start to give the viewer two view points, those situated within the existing space and realm of the viewer and those beyond the unreachable. the viewer is shifted into the presence as if amongst the reality of those painted.

Bellini [1505] - the physical frame is replicated in the painting [through the architecture]. The figure are now painted at life scale to determine physical presence form the viewer.

Bellini [1513] - The painting is situated in a space by a window so that in one particular moment in time the real light mirrors up to the light project in the painting. Real time and space now has a greater connection to the ambiguity of the paining and the viewer can attempt to relate the the time of which the painting is depicting.

Titian [1519] - Paintings start to take the existing viewpoint aimed at the spectator and rotate it 90 degrees. There is now a new presence of the internal spectator. The columns painted in the space are a continuation of the physical architecture. Paintings become in many ways specific to their environment in which they are displayed. The paintings 90 degree orientation related to our own entrance and the way we enter into the church in which the painting presents itself.

Vermeer [1665] - The viewpoint shifts to capture the internal spectators. there is now the spectator of the painting and the internal spectator that has shifted form early narrative where figures are in direct relationship to the viewer. The figures are now focusing at someone who exist outside of the frame. Verneer removes the external spectator. The alied subject - the subject that has been removed.

Narrative Spaces Lecture 08: Dayanita Singh

"Go away Closer" exhibition at the Hayward.

Context about Hayward Gallery: Archigram-future vision, speculative architecture. A series of concrete volumes, a sculptured landscape of windowless planes. Play between concrete as a material and its texture and that of the question "what happens inside?" The architecture constantly changes through light and texture and natural light bounces off of each building making up the landscape. The complex of which the Hayward gallery sits upon is considered "Marmite". The remodeling of the landscape and site has meant a break up of the mass, giving each site its own identification as well as still being viewed as a landscape. The interior os the Hayward is very prescribe and it is a difficult space to exhibit within.

Dayanita Singh: Creates architectural structures and furniture that have embedded photographs and texts within. Photography by trade the term "photo architecture" tends to become more of a summary of her work. There is a direct relationship between image and structure - not just looking but interacting with objects. the art of book making is introduced into the work. The photographic frame in how the work is collectively presented presents new and diverse opportunities to add meaning and communicative value. Book making slowly transcribes into museum making. The production of archival units that hold and contain the artwork.

Museum of chance: Within the exhibition content is flexible and can be adapted and changed. Spaces are photographed as a context for the work but the spatial arrangement of the work question how one is presented in space and how space exists on a human scale. Certain images are presented at human scale questioning boundaries between photographic and real space. The space in the picture becomes filled by the viewer because of the relationship to the scale.

The book produced alongside the exhibition provides a fixed narrative and a physical object. The artist become fully in control in how the reader now has to read a sequence of events an images as oppose to the sometimes empty positioned frames with the presented collection.

Museum of shredding: Current exhibition on at Frith Street Gallery, the architectural structures and furniture that so often contain the archival work are now naked.  The artwork starts to blur the boundary and questions the role of the curator, director and artist in making up the gallery space.

Metonymy noun: metonymy; plural noun: metonymies 

The substitution of the name of an attribute or adjunct for that of the thing meant, for example suit for business executive, or the turf for horse racing. [Not called by its own name, but rather the name of something associated with it.]

Vitruvian Dan

As my gallery work has been documented through the act of stepping and that my "step" has been used as a form of measurement to navigate around the space I have considered integrate other measurements "again taken form my own body" that can start to support me with turn this into a frame. The Vitruvian man is an iconic piece of works that relates itself to proportion, geometry and scale. I am not considering myself the new "Vitruvian Dan" but I have considered a host of measurements that could be used in conjunction with my frame.

Step = 750mm

Heel to Toe = 570mm

Feet width [wide stance] = 780mm

Floor to Knee = 560mm

Floor to waist = 1060mm

Floor to Shoulder = 1525mm

Floor to Head = 1830mm

Floor to reach = 2340mm

Arm reach [tip-tip] = 1910mm

Shoulder width = 460mm

The book of "Gallery Conduct"

Since reading about Ashers work and considering the phrase "Museum conduct" I have started to plan out one of my many monographs/books that I intend on producing and presenting as part of of unit 01 submission. The idea behind this book "Gallery conduct" is to simple identify some of the characteristics and practical elements through my own observations and actions of how I have encountered a gallery space and to design a series guidelines "up for consideration" for when next visiting an art gallery. It starts to fuse together my reading of Grayson Perry and my own thoughts and actions. I want each book to only focus on one area/topic. I am considering learning how to build and bind my own books [little bit of practice perhaps for unit 01, but it would certainly give my work an additional characteristic.]

Using Indesign for printing books: Bleed/ Edge/ Margin/ Crop Marks. Bleed normally ranges between 3-5mm. Remember to export file as "Adobe PDF print". Use crop marks and bleed settings. Need to decide of binding method and paper stock.