Self directed project
Develop a project around the theme of Self or Other, or a blurring of the two. For example, this could be a performative work of self-portraiture, or perhaps a documentary story combining portraits, objects and spaces to describe Others.
This is your chance to find and articulate your personal voice in relation to the context defined throughout this course. This will only be realised through an iterative process of experimentation, reflection, analysis, editing and research. Each iteration should lead you to the next until you reach a point where you feel ready to gain feedback, from your tutor. Following tutor feedback, you should rework your project.
The first iteration should involve sketching out possible ideas. Add this to your learning log. Then, try out one or a number of these ideas. Add these early experiments to your learning log. You should then have a look at your most successful images in relation to your developing idea and take the work forward – experiment, reflect, analyse, edit, research and continue to do this until you are at a point where you would like to receive feedback from your tutor, submit your work by whatever means you both agree.
Assignment five is a project in progress. It is not expected to be fully resolved, visually coherent or a clearly contextualised submission. As well as visual material (contact sheets, work prints, etc., depending on the nature of your practice and your project) you should include a short text (around 500 words) setting out:
- The specific themes your work is addressing or what your work is attempting to communicate
- A list of the practitioners you’ve looked at in relation to this assignment
- A bibliography
A brief self-evaluation
You may wish to consider requesting an audio/visual tutorial for feedback on this assignment. Your tutor will give you guidance on how to develop and/or resolve and most appropriately present your project.
Leading on from everything I’ve been looking at in this project – i.e. how do we define the terms self and other in light of an evolving relationship with language, how we construct language, how we construct concepts?
SKEUOMORPH – See Page 17 Posthuman book
The term skeuomorph is compounded from Greek skéuos (σκεῦος), meaning ‘container or tool’, and morphḗ (μορφή), meaning ‘shape’. It has been applied to material objects since 1890 and is now also used to describe computer and mobile interfaces. (Wikipedia)
Relate the above to pattern and randomness/presence and absence
Also – consider in relation to Douglas Crimp’s essay, The Photographic Activity of Postmodernism – see more here: https://uvcsjf.wordpress.com/2016/05/30/brief-of-notes-on-the-photographic-activity-of-postmodernism/
…“the withering away of the aura is inevitable fact of our time, then equally inevitable are all those projects to recuperate it, to pretend that the original and the unique are still possible and desirable. ….no where more apparent than in the field of photography… culprit of reproduction
Pattern and randomness – Images are a recognisable pattern (signifier) but with fewer or different sets of possibilities (entropy) depending on medium – solid image, digital image – perhaps leads to a dilution of presence. A solid image feels more present than a digital one but has limited possibilities?
In Catherine’s own A4 feedback from Wendy for her work – “Polish photographer Bownik, Ruth Van Beek as well as buying the current issue of Foam magazine, Back to the Future. The 19thCentury in the 21st Century which looks at the ways in which the artists appearing there are using contemporary, digital techniques whilst interpreting techniques, ideas etc from the 19th Century.”
Some early experiments -taking old family photographs (own archive) and overlaying them with proprietary animation available on apps anyone can access on their phones