Collecting the notes from the two modules, I reread the coursebook and consider the instruction to explore, following an investigation of Marilene Olivier’s process and practice of what constitutes mine, notably along the line of:
theme — material — process
My notes, after some hesitation, state:
— I had arrived at this through DI&C, notably the line, and then formalised it when compiling my materials in different forms and formats for assessment of D2. It is helpful, and in other ways also not, as it doesn’t help me organise them, help me shift them around and making them at once familiar and strange in the process.
I turn a page and start to collate what I have — being doubtful that I actually done enough ‘manifesting’, having remained and explored different route in great enough depth (the breadth wasn’t the problem, but I felt I had again flitted from a to k, and then to y).
This is a first collation of the materials that I drew into the process of gathering and manifesting:
I added a few more notes to this since and on the next page started to spell out which notes (i.e. FB posts) relate to these and take them further (often in text, reflection or experimental; often in visuals to, these are generally stills or a/v sketches; less frequent are actual drawings).
I also flick back a few pages and annotate the theme/material/process further: the struggle over fixing these is that they seem to sit at the far edges of what I again understand to be artistic practice: much is conceptual, performative, but also in either form rather common (it is not a stage performance but a testing of processes, materials and edges).
There is little in the previous modules that prepared me for such a practice, it seems (and still I see such a practice all around me: the artists in Glasgow, the presentations at SAR etc., so I know it is perfectly fine as practice, but it rubs up against some of the earlier learning). In one of the coursebooks I read a line about how to proceed with a conceptual practice.
The materials and investigations are fairly substantial in what they are; yet, with how they sit in form and notation, I see why they easily slide out of view/ attention. So, over the past couple of days I started to collate them (and will continue to do that for a few more days) and then submit once I am back in the UK in the second half of July.
There are a series of questions for me right now:
- what is the role of the moving image material, notably the films: there is something in the set that I noted down here that is really important.
- what is it?
- what role can it have?
- what form can it have?
- the role of books/zines for my work and the place for software/apps?
- InDesign for the imposter zine and expectation/will
- but also: early powerpoint slides for some of the diagrams
- audience/ public:
- most my sketchbook still resides in FB and I moved some of these across, I keep the formatting as it seems relevant to denote the origin/translation process (but will investigate this a little further)
- this has been a key focus recently:
- the reposting of the line in FB
- I invited people explicitly to a limited public album
- the interactions with the Bleakley and Giles performances
- the question of who is the public for expectation/will and the gap performance scores
- what is the relationship sketchbooks and blog?
- it relates to the notion of audience/public
- it also relates to the investigation of form
- I added a number of FB posts as sketchbook to the blog (namely for April), and will continue this for this part of BoW and investigate how to proceed.
- what is the kind of manifestation for this work?
- what constitutes the work (as in questions concerning what constitutes the performance?
- how do I address my desire/ joy to handle stuff with my hands
- the role of movement in drawing/contact
- it runs through much of this: as edge, transgression, volition
- moving-with as key concept for the line text
- how does this shift the focus? what do I lose by doing so?
I take these two at the lake shore, yesterday, they fit:
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