BOW/CS: To-do-list

  • Do BOW A3 coursework
  • Add peer feedback comments and response to relevant page CS A2
  • Make adjustments to draft where necessary
  • Update where I’m at with BOW A3 planning and ideas
  • Begin writing (in note form if necessary) CS A3

It’s busy here (pre Xmas/school/work etc.) and I am feeling a little overwhelmed with everything that needs doing in order to keep on top of deadlines, as well as not losing touch with the unfolding thread. I think the hardest thing is about this – other than the difficulty of pulling apart thoughts relating to a tricky subject  – is doing two courses together. Managing time and thoughts is incredibly challenging.

Ordering of the above:

  1. Update where I am with BOW A3 planning/ideas
  2. Add peer feedback to CS A2
  3. Make adjustments to CS A2 where I can at this time
  4. Do BOW A3 coursework
  5. Begin writing CS A3 plan and 1000 word sample

 

CS/BOW Reflection: Long

I felt it would be useful for me to pause and consider where I am at this juncture, and where I came from in order to arrive here. The OCA has been an immensely useful container but the journey I’m on, the desire to understand something fundamental but hard to pinpoint began long before 2014. Perhaps as long ago as when I was a child watching how strangely the grown-ups behaved and wondering why. Or noticing how we (I) emulated others; accents, behaviours, tropes, and then absorbing these actions and making them ours (mine).

This will be a long post and is for my benefit rather than anyone else’s – it feels necessary and important to get these thoughts outside my head as a part of a process in relation to CS and BOW.  And also, that it should be more conversational as opposed to confined by the rigours of academia although the habit to identify quotes is strong nowadays. Ruth (previous CS tutor) had suggested experimenting with form for CS and so I won’t rule out including sections of this, or developing it, if down the line that seems like a route I would like to take.

I started making notes for this blog yesterday as I marched along the street, sweaty because it was very mild and I was dressed for the artic, muttering to myself about what exactly it is I am exploring here in this work; I began to formulate a narrative that linked my life with the theories and ideas I am looking at.

Right now, I think it always starts with digitisation. I am fascinated by the revolution we are currently living through, by the assumptions people make about it. About where it comes from, what it’s doing, why we’ve contrived to arrive at this point (without volition – is that possible? Or is contrived the wrong word?)

Groups used to be smaller. For most of our evolutionary history, we lived in manageable extended families. Across cultures, there were some basic similarities. Nikolas Christakis covers these in his book Blueprint (2019). He talks about a social suite, which ‘includes individuality, love, friendship, co-operation, learning and so on’.

He also talks about the dyadic nature of humans. I really like this. It’s a word I came across when I was reading about babies and their primary carers. In the baby literature, it implies living in this secondary invisible placenta; it contains mother and child. Both are deeply connected within and even shielded from something outside the dyad. Not all mothers experience this. And modern culture seems to makes it challenging for genuinely dyadic relationships. Some people suggest the high numbers of post-natal depression are related to this failure to connect – and I suspect there is some truth to that although it can also be down to a lack of support, which is of course, another connection with other mothers/parents/helpers – or allo-parents, a term used by Sarah Blaffer Hrdy, a socio-anthropologist who writes about mothers.

I was lucky. I did experience a deep connection with all of my children. During my divorce, I seemed to be able to protect my youngest in this little bubble from all the toxicity outside of it. It also taught me that symbolic language isn’t always necessary  (I should have been far more consciously and intellectually aware of this given my acting training)- that we can communicate without it, even while we are asleep. And that has been very important throughout this course. I’ve learned that symbolic language is a distancer. It helps us to distance ourselves from ourselves, never mind anyone or anything else. “Use your words” is a constant refrain to toddlers who prefer to lash out when angry. We ‘otherise’ ourselves, remove something and in the process de-intensify it – be it rage or love – through the use of symbolic language whether it’s written down or simply spoken. We send our thoughts out into the world with language; a little bit of ourselves leaves our bodies and lands elsewhere. It can land as a caress or a weapon and it has an effect but, while wounding with words can be devastating and the cause a chain of fatal events, it removes us from direct violence. Again, Christakis discusses this, as does Richard Wrangham in his book The Goodness Paradox (2019)

A little bit of us – a thought that gets heard is something that can affect others.

In a dyad between a mother and child, something else is going on. Physical reactions take place that don’t need words, not even as thoughts. A baby wakes in one room and your breasts start leaking in another. The prickly sensation of your milk ducts filling up is what alerts you and you check in to see your infant’s beaming face  – and they seem to have known you were on your way. I’m painting an idyllic picture  – it’s not always like this, obviously. And some women and babies have a really terrible time. There is so much in modern culture which gets in the way of the connecting behaviours that evolved to help us survive. But somehow most mothers (although not all) and also fathers overcome the many, many obstacles. When your child falls over, a jolting sensation takes place in your own body as if you too have fallen. The theory suggests mirror neurons are responsible, which apparently exist in all primates (and beyond no doubt). It happens with other relationships too but it’s very noticeable in parent/child pairs.

Christakis discusses the hyperdyadic nature of the human species. In other words, we are all connected, that is how we operate. Hegel talked about collective consciousness.  Edward O’ Wilson has spent a lifetime investigating the hive and applying it to human behaviour. Social contagion or mimetics are other words to describe this phenomenon. Despite sounding so modern, it seems plain as day to me that we are networked creatures and always have been. Christakis’s earlier book is indeed titled Connected (2009). These connections mean that ideas spread around cultures and groups even when there has been no physical contact. Wilson discusses this strange ability seen throughout history when inventions take place in more than one place at the same time.

The Internet is a response to a lack of connection, perhaps in particular relation to population growth. As groups got larger, we stopped being connected. Social fragmentation, evident in the artwork of the early 20th century is one expression of this loss of connection between people and in relation to how reality felt. We humans then ingeniously came up with a way to address that. We dug down into reality and found a way to emulate it. Despite its relative technological advancement our code is still a crude copy. And there is a problem. The code we use to make these connections is a language. It underpins all the forms and media that we see on our screens, which is also another layer of language. So inherent and embedded in the anatomy of the Internet is a process of distancing. What’s even more difficult, as my lovely and intelligent friend rages about often, the people writing the code are very frequently a certain type. “They are the nerds!” she states angrily. “The people who aren’t naturally social, who don’t understand relationships, who are on the spectrum and can’t communicate. The ones who don’t have any empathy!” This is blatant stereotyping but the people writing the code are aware there is a problem. They know they need to write empathy into the code. They know this. However, for now, empathy is missing and the fact the whole thing is structured on language which is itself a distancing process means there is a structural problem which we may never be able to overcome, although I have faith in humanity

We can be optimistic because while we have collectively tried to re-connect using digital technology, which emulates natural linkages, today we’ve not even begun to see just how powerful our technology will be. This is both frightening and exhilarating. Once quantum computing moves out of its infancy we will not only emulate ‘hyperdyadicness’ (not a real word, I know), we will reach a point where simulation and nature are interchangeable. There are many, many foreseeable and unforeseeable problems but we will go on an incredible journey as our clever people look for the solutions.

We have begun the process though. So far it has wrought terrible consequences in the form of nuclear war. But what we’ve lost over time as language developed and civilisation grew is currently being rediscovered through quantum science and systems theory (which is interdisciplinary – don’t underestimate how crucial that is). People often see similarities between Eastern philosophies and the newer sciences. But I am wary of spouting racist claptrap. However, it is well documented that the Dalai Lama is interested in quantum mechanics and Luisi and Capra (2007) devote a carefully written chapter to the relationship between spirituality and science.

Karen Barad’s book Meeting the Universe Halfway (2007) deals with the philosophy of quantum science. She cannot stress the importance of entanglement enough. She explains how ideology and world-views are embedded in the apparatus’ and the framing of our experiments and subsequent related objects and behaviours. This embedding is also explored in Vilém Flusser’s Towards a Philosophy of Photography (2012).  The ideology is in the apparatus and photographers (all except experimental ones) are flunkies or to use his word, functionaries  – they ‘are inside their apparatus and bound up with it’ (loc 2086).

What stops us from seeing this is our ‘Cartesian habit of mind’ (Barad, 2007). Both Systems Theory and quantum science urge us to move away from the strictures of a Newtonian/Cartesian worldview where isolated objects exist in a void universe and nothing is connected or relational. Entanglement has been lost in our understanding of reality and we are working our way back to incorporating it now. But there is a long way to go and it’s on the fringes of society – although arguments to suggest it is becoming embodied through our interactions with digital data.

The problem with arbitrary lines around isolated objects is that it too often engenders a simplistic, black and white of view of the world. (And that is being kind.) This can be seen across disciplines and in photography it is endemic. Photography which claims so loudly to be a ‘caller out of injustices’ seems in fact to reinforces unhelpful mentalities, undermines any attempts to move away from hierarchical thinking, narrows down meaning, oversimplifies complex issues, attracts monism, flattens nuances, strips away context and relationships. Still photography in particular entrenches all of that. It isolates and insists on objects in a void. It suggests the opposite of a ‘dynamic and shifting entangling of relationships’ (Barad, 2007: 35) no matter how hard people point out – and writers such as Ariella Azoulay have done -– that history and the objects we construct are forever subject to re-examination, are alive with possibility and liveliness.

There is something inherently unavoidable and entrenched, in particular in still and analogue photography. I look at the ontology of a photograph and see that at its core, still and moving image are one and the same thing. We may intervene and add lots of frames together or else we isolate a single frame but they are both an agential cut (a Baradian term which I will explain more fully in my extended essay and in BOW). It’s the isolating that causes problems.

I find it hard that people fail to appreciate intra-relatedness. My interactions with a secondary school shocked and enraged me too as my child was being so badly affected by their entrenched position in an out-dated reality, in a constructed and ludicrous simulation of the past that is no longer relevant and entirely inappropriate to its surroundings, and that they seemed utterly oblivious to emergent changes to the world or else angrily against them. This is especially unhelpful for young people who have grown up with the problematised Internet which, despite its many issues engenders a networked view of reality. It is frustrating beyond belief that so many want to drill down into detail so tiny, they leave no room and can only focus on single issues, which they hope will somehow communicate something greater, rather than simply isolating themselves and their ideas in the void. It astounds me how this habit of monism fails us but is still so prevalent and is taught in schools and colleges and universities; but then I recall the citation which I begin CS A2 (draft) with by Capra and Luigi: ‘It [this habit I’ve described] derives from the fact most people in our modern society, and especially large institutions, subscribe to the concepts of an outdated worldview, a perception of reality inadequate for dealing with our overpopulated, globally interconnected world.’ (2014) Inadequate is the key term here. Inadequate. This old way of seeing and being will not serve us going forward. That is not to say we should forget history. We can’t. Because in an intra-related world the past is enmeshed with the future and the present. We must, as Azoulay (2019) recommends, re-evaluate our Cartesian linear view of time.

In my work I am, like the child who watched and noticed the adults and my friends all copying each other, performing roles, connecting. We have always done this. The Internet makes it visible. It somehow speeds the process up (See Virilio (2008) on speed and technology). The breaks are no longer in place. But we will write them into the code again. In the meantime, I do believe we need to find ways to communicate and explore intra-relatedness. We must challenge linear understanding, flat thinking, monism. Not everyone I value or follow agrees that there are no objects, that process supersedes things. However, we have lived with that myopic view for so long in the West and it has taken us to a very dangerous place. And so it behooves anyone who has the capability of addressing and deconstructing it to do so.

CS & BOW: Reflection

Where I’m at right now….

  • I have a  meeting with Matt White on Monday and waiting to hear from Ruth te A2.
  • I feel the Pic London project introduced me to useful ideas, concepts, and practices that were good to come into contact with. The actual work produced feels more exploratory and research-led than anything  – however, the image of the inside of the cave which has been in my work previously seems to have played a significant role. I am not sure how I take some of my frustrations forward re. the group’s inability to make the improvisations function. I have thought about attempting it with other people. I could suggest trying it with the Pic London group but I am not sure they are up for it. It’s very difficult to read what’s going on there – perhaps because we were only ever able to talk online, I cannot work it out. One of the things I noticed in the Ballpark Collective’s statement is how very clear the rules were and how they didn’t speak about the work outside of the game:
  • “The parameters of this involve creating a moving image from 5 individual works, each made by one of the artists. Through the random act of ‘pulling sticks,’ the collective decided on a chronological order to respond and react. The artist who pulled the shortest straw started the process by creating a moving image piece based on their response to the theme Interdependence. The work was presented to the next artist, who then responded with a work informed by their interpretation, or reaction to it. There was no discussion between the artists outside the ritual of passing the work to the next, allowing the process to highlight individual perspectives and the gaps in communication. When the process was complete, each of the works was edited together to create a whole.” (2019)
  • The cave is something I looked at as far back at TAOP (before I’d looked at Plato’s Cave in UVC) See – https://www.sarahjanefield.co.uk/Colour-Assignment-Slideshow/n-GMdPr/
  • These images seemed to be expressing a sense of existing in what I referred to as my ‘grief cave’. I think I even wrote a short thing about it – falling into the cave and bumping into a projection down there, an imp who played tricks and wasn’t real but was.
  • untitled--7
  • I need to revisit some work I began last year which I called “Manipulated: My Leica and I, Leica Amateurs show their Pictures (1937) rephotographed, edited, uploaded; phone & proprietary apps only (c)SJField2018. Some examples from the page at the end of this blog. However, I am not sure about continuing with the Leica book for BOW but I may transfer the basic premise to another or film or text of some description. https://www.instagram.com/fieldsarahjane Also, the experiments there are too static, not dynamic enough. (Not that all need to be the same – variety of unstable imagery was what I was going for – also the base image needs to move and come out of its place.)
  • There is so much that makes me cringe in this S&O A3 project but it was a turning point while studying with the OCA for me and is definitely worth revisiting. https://ocasjf.wordpress.com/2018/01/09/draft-assignment-3-filters-voice-and-speech-lessons-for-the-theatre/
  • Returning to the TAOP A3 (colour) assignment briefly – As far back as then I was focused on the use of the word theatre which has so often been associated with photography  – I included the following slide at the start of the assignment:
  • Untitled-1
  • It’s been fascinating reading through Fried and then various responses to his thoughts on theatricality and anti-theatricality, and then seeing the use of the words performativity used by Barad. I’ve noticed several related words on the Contents page of Feminist Futures of Spatial Practice: Materialisms, Activisms, Dialogues, Pedagogies, Projections 2017 [PDF] – such as dance, masked, imaginary, rehearsal, acting out, play. I think Fried’s negation of theatre is a complete misnomer and that theatre and theatricality are at the core of what it is to be.
  • I really had no idea that I would find myself revisiting the first dissertation (1994). This has all come about after asking other students for an alternative view to James Elkins’ statement that photography might actually be rather dull. Freid was recommended and now here I am – See previous blogs on Barad – performativity, and Rubenstein on theatricality and Fried. I have no copy of my first dissertation and no way of finding one. I could barely write at the time but I suspect it dragged my overall grade up from a 2.2 to a 2.1.  I looked at the ritualistic origins of theatre. I explored ‘commune’. One of the things I noticed in the Rubenstein response to Freid was how everyone sees theatre as intrinsically about representation, a separateness between viewer and action, othering – but it strikes me that the origins of theatre are about oneness – an attempt to re-engage with the universe rather than draw away from it. It’s an early church.
  • I wrote about trying to create a universe in my BOW A2. Theatre is a reality laboratory. It’s not about trying to create a fake. Well, at least, once Stanislavski got hold of it, it no longer was. And then there’s the Method. Maybe Stansilavski was simply taking theatre back to its origins. Isn’t it funny that the fakeness of a diorama is where photography purportedly began (putting aside Azoulay’s ant-Cartesian reading of the origins of photography). I feel I do need to revisit these ideas – although I am not sure how just yet.

Below – a couple of the Manipulated (2018) posts. Visit for more.

 

Bow: A1.1 & A1.2 Reflection/pre Tutorial feedback

I have had some feedback from Ruth for BOW A1 and have a meeting planned later today.

The BOW course is structured so that the initial assignment is reworked and split into two sections. Reworking the film is tricky for two reasons.

  1. It’s a collaboration and any editing would entail asking Emma to make time to collaborate again on the rework. I’m not sure this is viable. I cannot mess with the music without her as it would undermine the work she put in in the first place.
  2. The other issue is the central and underlying concept, which I must admit always felt somewhat contrived, revolves around the limited amount of footage of women, sans monsters and disasters, in the overall film; an irony, given it’s about visiting a planet populated by women only. In fact, eleven-minutes is probably not all that accurate. The women in the film certainly don’t appear for as long as the men. But I could have calculated a more exact time. We might also have been more robust with the concept. I suspect one reason for this failure is due to a lack of genuinely deep collaboration between Emma and me and a panicked feeling of needing to have something to show.

While the eleven-minute figure is a little tenuous, going back to start again and unravelling it all would mean starting from scratch with the same film and I just can’t see Emma having the time or inclination.

One of Ruth’s suggestions in her feedback is to shorten the film; “Overall sense of the film: it could be much shorter and thereby allow the viewer to be swept up in the whirl of the imagery and music but not start figuring out what is going on.  The length somewhat detracts from the open-endedness of the film, and suggests a potential narrative.” (2019)

I agree with Ruth  – but I also feel that work is done – for better or worse and it was a useful exercise from which I learned a great deal.

I have since worked on a subsequent film, also the result of a collaboration  – and the things I learned while producing Sirens have been applied in this new project, and Ruth’s advice about length, avoiding fixed and typical narratives, rhythms, etc are all constantly whirling around in my head. It feels, therefore, a far better use of time to submit this second film for A1.2

Another reason for doing this is to keep both these early experiments as far away from the end result of BOW as possible. Both will inform where I venture next, but neither is yet in the vicinity of where I hope to arrive (no idea where that may be either).

  1. Pic London Project

What I will suggest is submitting the collaborative work I’ve produced for the Pic London project I’ve been involved with rather than a reworking of Sirens.

I am in a group who worked with Hal Silver (I’ll explain who that is if/when I submit this work in a more expansive blog). However, the group working together consist of six early-career artists/students recently graduated, or in their final year.

Here is a draft text about the collaborative project (written collectively):

A collective inquiry that began in a game set in an imaginary village, riven with rumours of witchcraft and industry. Over three months, six artists exchanged challenges and responses, out of which common themes emerged: loops and circles, colonies and growth, architecture and language, nature and storytelling. The exhibition is a settlement of images, objects, installations, moving image and living bacterial cultures, questioning what it means to form a community and, furthermore, emphasises the stories and concepts the community is built on.

Each artist will contribute work which they made in response –  joining in greater or lesser degrees with other members of the group. The work will be shown in/on a circular three-dimensional ‘set’.

The main element I have contributed is a film – work in progress.

Password Village3

The film is a representation of feelings, words, and phrases which I arrived at after having conversations, reading responses, noticing mine – with or related to the group both off and online. These words prompted me to look for certain clips/footage.

Collective

Rumour

Gossip

Execution

Village

Publican

Fire

Isolating

Darkness

Yeast

Network

Growth

Contagion/Hyperdyadic

Fiore – Flower – Berlusconi the Goat

That Goddam Enlightenment

Suicide

Small – Big

Particles

Language

The impossibility of

Walls

War

Civilisation

Pink dᴉuʞ

Garden

(Of)

Earthly Delight(s)

Community

Loss

Circle

Here are images which I took myself (in no particular sequence). Some of these but not all are in the film. They were taken in the village I spent the summer in. 

Rumour(c)SJField2019-7277Rumour(c)SJField2019-6979Rumour(c)SJField2019-6958Rumour(c)SJField2019-6939Rumour(c)SJField2019-6730Rumour(c)SJField2019-6535Rumour(c)SJField2019-6531

A sketch by artist/recent graduate Christel Pilkaerthomsen illustrating how we plan to show the work

70908895_389869788575594_3679266691688169472_n-01

2. Section 2 (Bits I made while thinking/preparing but which I don’t think fit, but including here to demonstrate development)

Here is a poem I wrote while living in a village over the summer and was prompted by my research and development for this project –  I shared it with the group to be included in an accompanying book, however, I just don’t think it fits any more with the work – perhaps/we will see.

On the edge of the village

 

On the edge of the village, too far for the water to reach

two mummies lay on plastic sun loungers,

hoping and waiting for a glimpse of death in the sky. It was dark,

but the moon was full and high.

 

“When I was little, you told me the stars were dead people,” said the younger mummy, accusingly. Then excitedly, “There’s one! Did you see it?” Death lights up for a microsecond.

 

Don’t blink.

 

The older mummy missed it.

“I thought the sky was filled with ghosts looking down at me.”

 

On the edge of the village, beyond the reach of the bin men,

the mummies remember Fiore who lived in the barn below,

a second home for the summer months. His main

house was in the village square. But he was rarely there.

 

“When Fiore died, who inherited everything?” the younger mummy asked.

Long ago cancer killed his wife, then his daughter did it to herself. “And another!”  Ephemeral, mortal, gone.

 

Never put bricks in your eyes.

 

The younger mummy smiled.

“I think it must have been the housekeeper. She and Fiore were close.”

 

Far from the men who grabbed the older mummy or the women

who took against her after her own husband died,

they lay there and waited for death to arrive. Too much light

makes it difficult to see though.

 

“Why wouldn’t he eat Berlusconi, his badly behaved goat?” wondered the younger mummy. Then she sat up and cried, “Look! That one lasted forever.” The planet’s demise was fantastic so the mummy made a wish.

 

Listen instead.

Both mummies lay still.

“I think it was because he loved him,” thought the older mummy. Though she kept quiet.

Some images that might have worked with that text. (In no particular order) At the moment, they are not included in the project anywhere but I could print and place on the circular platform. 

IMG_6846.jpgIMG_6848.jpgIMG_6859.jpg

IMG_6844.jpg

 

A collective Instagram Account where each of us was able to post images, research, and ideas.

https://www.instagram.com/arumourreachedthevillage/