During the writing of the research paper, I had been keen to find some way to allow for the text itself to interface with space, so as to avoid an isolation of its ideas from the actuality it discusses. In some sense, I had hoped that the research paper could in some part become a… Continue reading 2-18: TRANSPARENT METHODOLOGY
Category: Unit 2
2-17: METHODOLOGY FOR SPATIAL INTERVENTION
In the final version of my research paper, I decided to abandon the dossier component (see 2-15), feeling that it lacked clear criticality existing as a purely visual element. Instead, as I began to compile relevant notes and narratives of works that embodied the idea of spatial intervention as a form of documentary, I started… Continue reading 2-17: METHODOLOGY FOR SPATIAL INTERVENTION
2-16: ON DOCUMENTARY
WIP INTRO FOR RESEARCH PAPER “No branch of art has ever more deliberately tried to combine research with interpretation, or laid so much emphasis on the intellectual background of art” said John Grierson of the documentary (1946:159). The Scottish filmmaker had coined the term in 1926 and spoke of the potential for a new art… Continue reading 2-16: ON DOCUMENTARY
2-15: SPATIAL INTERVENTION AS DOCUMENTARY
In my research paper I will be proposing that spatial interventions can serve as a form of documentary. Particularly, I will be examining the ways in which creative works use reality as a material and serve in some way a documentary function in their treatment of the tangible and intangible aspects of space. My current… Continue reading 2-15: SPATIAL INTERVENTION AS DOCUMENTARY
2-14: CROSS-YEAR FEEDBACK
Of the work I presented during the cross-year tutorial (see 2-13), my iterations exploring Paris as a site were far better received than those which sought to re-align my focus to the more accessible location of Elephant & Castle. In fact, it was generally suggested that the means I had chosen to explore intersecting narratives/histories… Continue reading 2-14: CROSS-YEAR FEEDBACK
2-13: TOUR 14 X 15
Many of experiments regarding the identities of space have been influenced by structuralist theories of film—readings which emphasise how film conveys meaning through the use of codes and conventions—as well as works of cinema responding to these ideas. In particular, the aforementioned works of James Benning (see 2-11) have been influential in my pursuit of… Continue reading 2-13: TOUR 14 X 15
2-12: PARIS SYNDROME
Consider the tourist destination, experienced, captured, remembered by millions every year; a space that exists as much in the form of a visually codified idea as in its physical reality. Hiroaki Ota, a Japanese psychiatrist working at a French hospital in the 1980s, coined the term ‘Paris syndrome’ to describe a condition he claimed to… Continue reading 2-12: PARIS SYNDROME
2-11: LANDSCAPE THEORIES
Screenwriter and filmmaker Masao Adachi coined the term FÛKEIRON (LANDSCAPE THEORY) to describe a style of cinema that sought to infer narrative and ideology in a reading of landscapes. With a sparse, factual voiceover and a free jazz score, Adachi’s film A.K.A. SERIAL KILLER (1969) documents the story of a 19-year-old murderer through a decentralised… Continue reading 2-11: LANDSCAPE THEORIES
2-10: VISUAL ESSAY
BRIEF REFLECTIONS ON THE VISUAL ESSAY My intention with the visual essay was to create a tour of my virtual gallery space, adapting the lexicon and attitude of the art institution to create a medium for challenging its traditions. My script went through a number of revisions and I feel I was able to achieve… Continue reading 2-10: VISUAL ESSAY
2-9: WRITTEN COMPONENT 4
HOW HAS YOUR ORIGINAL POSITION CHANGED AS A RESULT OF YOUR FURTHER WORK? Whilst my personal belief in my original position has not dramatically changed, through iteration I have allowed the work to carry on in a direction that engages with it only as a part of a set of wider ideas, rather than being… Continue reading 2-9: WRITTEN COMPONENT 4