Category Archives: 6. Placing practice notes

Placing Practice with Jesse, May 10th

Placing Practice 10th May

Both myself and Vicky gave feedback on the group’s suggested artists which they felt were relevant to our work.

Vicky’s subject matter of artists who work with live animals proved to be quite emotive and I was surprised at myself at the strength of my revolution and how upset I was by some of the ‘art’.

Following  a break we watched ‘Nostalgia’ by Hollis Frampton, which was intriguing and distracting, as well as appealing to a wide range of our concerns and practices

Afterwards Jesse filled us in on what will be happening over the summer months and what happens in general in relation to Placing Practice and the autumn classes with her

  • one third of the Placing Practice marks go towards the report (May 10th)
  • two thirds of Placing Practice goes towards the presentation in September. This will be a report of the summer research and any conclusions reached.
  • This can take the form of documentation or a report .
  • Therefore, all placing practice activities should be concluded by the end of the summer in order to report back to the group
  • It should discuss what learning happened and what has shifted in the artwork as a result of these collaborations
  • Also important is how the other professional’s viewpoints as changed.
  • This will take the form of a 10 minute presentation and follow up questions

 

  • She also mentioned that we all should look up the work of artist Anri Sala 
Anri Sala - Le Clash - still
Anri Sala – Le Clash – still
  • In September, we will be doing the Productions module with Jesse.
  • This module will be about us as a group putting together the show and mediating the supporting material, which is usually a publication and or a video piece.
  • She advised that we visit as many exhibitions as possible over the summer and collect their supporting material like catalogues, posters etc
  • She advised that we visit EVA and be aware of the curatorial framework and the mediation material.
  • Think about what is our shared curatorial enquiry.
  • We will be expected to conduct a case study of a gallery that we visit.
  • Productions – shared space – ecology of our peers – what is our shared thesis curatorially
  • Basically, what is our shared framework
  • What are some of the ideas we care about as a group?
  • Think of our curatorial questions
  • Think of someone who could do a write up of our work -ie
  • – Dawn Williams, Stephen Brandes, Mac Pacer (?) etc
  • Niall Sweeney = designer
  • Proposition of shared critical (who is writing our crit.), curatorial (space, design) concerns
  • Curators to research – Tessa Gibbon – Charles Estia (?) – Allegra Presenti
  • – Stuart Commer – Stephen Kanes – curators for the moving image

 

  • Research a curator – track them

Placing Practice Report, May 10th 2016

 

Placing Practice – Report – May 10th 2016

  • 1:  Overall trajectory of the research and why it is important to my work

I am investigating concepts of light, sight, perception and cognition and whilst some of my pursuits are scientific in nature, my work attempts to draw in the viewer to offer a sense of alternate reality and to subtly nudge  them to examine his or her senses are pre-conceived norms.  I do this primarily through playing with and manipulating light with various lenses and optics.  I work with, among  other media, video and sound, as well as photography sculpture and installation work.

The overall trajectory of my research is to gain different view points on Light, Sight and Perception.  I have contacted the following :

  1. John Justice – Photonics expert in Tyndall, Cork
  2. Dr Marcin Szczerbinski – lecturer of Psychology in UCC
  3. Neuroscients Dr Andrew Allen and Dr Annalisa Setti , UCC
  4. Blackrock Castle Observatory (for a astronomical and physics aspects of light as well as their views on the role of cognition and perception in cosmology) – various staff members.
  5. Optometrist Derbhla Murray, Vision Express, Cork
  6. I also contacted Dzogchen Beara in regards to meditation and the ‘inner eye’. I sent a letter of introduction and await their reply

I am interested in such visually based phenomena such as Charles Bonnet Syndrome, synesthesia, hallucinations and occurrences that gives the feeling of slippage from stable perception to a realm of the unusual.  I am particularly interested in how a ‘healthy’ brain can be ‘tricked’ or forced to evaluate their notion of the ‘real’.  I have chosen to do this primarily through the visual, as it can be considered to be our dominant sense in our ocularcentric society.

As such, I am meeting with the various professions mentioned above in order to gain a greater understanding of the various aspect of vision – light, sight and cognition/perception.  As the artist in this grouping, I hope to make the connection between these various professionals and ask them evocative questions that may not be directly involved in their field, but that will facilitate a cross fertilisation.  Thus I have prepared questions for the various staff at Blackrock Castle that will encourage them to give thought to the cognitive aspect to their scientific work.  I probed the psychologist about neuroscience and I hope to draw the neuroscientist out on aspects of light properties and aspects of meditation.  The optician is very interested in cognition and neuroscience and gave me some vital information to my research.  Of course, I have also gleaned information from these professionals in their area of expertise.

I am hoping that the information that I obtain from the various professionals will give me a strong foundation for a creative translation of their input.

  • 2:  How are the interjections informing my work – outline briefly what stage the enquiry is at

 

The research to date has already informed my work and has focused my research and practice.  I started with a scientifically based enquiry into the properties of light in a physical way and it has developed into an exploration about perception/cognition, primarily through the sense of sight.   I am also drawn to explore work and phenomena  that gives the feeling of slippage from stable perception into a realm of the unusual/unusual.   John Justice has informed me on the practical side of working with lasers and we brainstormed various light based ideas.  The meeting with Dr Marcin proved to be a great source of the idea of slippage and neurological shift.  Optometrist Derbhla Murray was very knowledgeable on sight based phenomena such as Charles Bonnet Syndrome and research into the link between depression and Ophthalmology

 

What stage is the enquiry at:

I have had several conversations with John Justice and I had one site visit to Tyndall in February.  John has also visited me in my studio April 10th to discuss my work and the possible use of photonics, holograms etc. (see Attachment A).   We also discussed cognitive elements, which John is very interested in and is informed in his own right in the area.  John would like to keep the collaboration going and enjoys the artistic/creative side of ‘playing’ with lasers etc, as well as discussions on cognition and perception.

 

I have had a meeting  in my studio with Dr Marcin Szczerbinski  on April 14th.  I had emailed him a list of questions which he researched.    This was audio recorded and transcribed (see attachment B).  As well as giving me valuable solid information, Dr Szczerbinski also conveyed personal stories of affect in art and described moments of slippage when his sense of perception was interrupted and he was transported to a place of awe.  I hope to use these stories in some way (on gaining his permission, of course), either in an auditory way or by visually emulating the situation and emotions he expressed.

Dr Szczerbinski  is keen for further interventions.  He is away on business at the moment until June.  We are in email correspondence in the interim.

 

I have had an initial meeting with Clair McSweeney (centre manager), Alan Giltinan (Systems Manager), Dr Niall Smith (head of BCO) and Denis Walsh (astronomy outreach worker and micro-biologist) on April 22nd.  This was a very fruitful meeting and they are very keen to continue a collaboration.   I also had a brief impromptu meeting with Niall Smith (Head of BCO)  (Please see Attachment C)

 

I had an impromptu discussion with Derbhla Murray, an optometrist with Vision Express, while getting a routine eye check-up.  I briefly described my project and she was very interested in my enquiries into perception and cognition.  She has a keen personal interest in the field and is willing to help me with my enquiry, in terms of passing on information on  Ophthalmology and neuroscientific articles she has read.  I plan to revisit Ms Murray soon in order to firm up this connection.

 

I have emailed neuroscientists Dr  Andrew Allen and Dr Annalisa Setti and both are very keen for a collaboration.  I sent them a link to my college website and they are interested in the aesthetic of my enquiry.   I recently sent them a follow up email with a list of questions  attached.  I will have a meeting based on these questions with Dr Allen on Friday, May 13th.  It is hoped that Dr Setti will also be able to attend this meeting.

 

I have also contacted Dzogchen Beara, Buddhist retreat centre, outlining my practice and the parameters of a possible collaboration.  Included in this email was a list of proposed questions for an interview.  I await their reply.

 

 

  1. Summary of how this enquiry will unfold during the summer. What are the key activities
  2. I will meet with neuroscientists on Friday 13th May. I have emailed them a list of questions and hope to interview them broadly based on this.  This initial meeting will be in UCC but I intend to invite them to my studio so they can gain a better insight into my work practices
  3. I would like to have a meeting with a member of staff at Dzogchen Beara, more than likely in the retreat centre. I would like to gain permission to audio record the Buddhist chantings to include as part of my work.  I also would like to create an installation in their Buddhist prayer room based loosely on my end of semester studio practice piece.  I will ask for feedback from participants on the meditative quality of this piece, especially from a ocular point of view.
  4. I would like to have follow up meetings with John Justice and Derbhla Murray in the near future. These meetings would be informal and, particularly in the case of John, hands-on exploration and experimentations with lasers and lenses.
  5. I will follow up with Blackrock Castle Observatory. I emailed them a list of enquiries on April 27th and once they have had a chance to process this, I will arrange an interview based on these questions.  I also want to obtain more audio and visual recordings of their space.
  6. I envisage a situation where I would facilitate a gathering of some or all of the various participants and professionals to participate in discussions around light, sight, perception and cognition.  I would like to involve some creative activities in this workshop, which I would facilitate to explore the theme from a creative stand-point.  I would hope to video or photograph the hands-on creativity, as well as record the more formal discussions.  These discussions will be held in a round-table type scenario, probably in the project area of the MA studio space.   I would hope that this ‘gathering’ would create an atmosphere of knowledge sharing and could led to future, more formal events.  I have pencilled in August as the timeframe for this venture.

Methodologies:

I have had several informal discussions with some of the participants in this project, as well as more formal recorded meetings.  These informal discussions are on-going and take the form of direct conversation, emails correspondence and phone conversations.

I sent introductory emails explaining my project and follow up emails with specified queries.

 

I have audio recorded the meeting with Dr Marcin Szczerbinski and transcribed the main findings (see attachment B).  I had initially compiled a list of questions from which we based our meeting.

 

The meeting at Blackrock Castle was the initial ‘meet and greet’ gathering.  I took notes at the main meeting and photographed the working offices and the environs of the observatory (see attachment C).   I also took some audio recordings of the various machines used.  I hope to revisit the observatory to gain further photos, videos and audio recordings.

I have sent Blackrock Castle observatory a list of questions.  I hope to audio record the meeting/s based on this, as well as perhaps getting written feedback.  I am going to scale back the initial proposal with Blackrock Castle Observatory and suggest to them that I could be more involved in Science week 2017, but for this year, the reprecosity would be their interaction in my proposed interactive workshop during the summer.

Some meetings happened serendipitously, such as the meeting with Optometrist Derbhla Murray, and indeed initial contact with Dr Marcin Szczerbinski was a chance meeting but was then formalised through email correspondence.

 

The information that I am gathering from these various professionals will feed into my practice, both in terms of ideas and gaining a firm scientific foundation on which to base my art work.  An example of this could be video  or photographic work based on synaesthesia or Charles Bonnet syndrome based on information gained from the optician and the neuroscientists.  I hope to gain some information about light and light based cosmological phenomena from Blackrock Castle Observatory.  This will also feed into my work, firstly by bringing a scientific aesthetic and also informing me of the external quality of light.  The meeting with Dr Marcin Szczerbinski has already proved to be a source of visual information and research.

As mentioned above, I would hope to cumulate this enquiry in a workshop where I would bring together all the knowledge bases.  I have years of experience in programming and facilitating creative workshops and hope to use this knowledge to create a fun and informative atmosphere for the participants.   I will also keep written reports of the various meetings and interventions.

 

 

 

 

Placing Practice – 26th April

Manuela gave her report on the feedback she received.  She wants to break away from the restrictive terminology of ‘Rites of Passage’ and instead think of her enquiry in terms of ‘Adaptation’.

  • Language can lock us into a system of repetition – Be aware of this!
  • The theme of blood and menstruation was discussed in length and could be an anchor for Manuela’s enquiry
  • After coffee break, I explained briefly where my work is at the moment and asked for feedback from the class in the form of artists who work with places of slippage, or ‘thin places’
  • We then talked about the Placing Practice report that we need to complete for May 4th
  • 500/600 word report with at least 3 images
  •  3 parts –
  • 1:  Overall trajectory of the research and why it is important to my work
  • 2:  How are the interjections informing my work – outline briefly what stage the enquiry is at
  • 3:  Summary of how I plan to bring these interjections forward during the summer and how will the findings be presented.
  • Include the methodologies that I used during the interventions
  • Discuss key activities over the summer – ie interviews, workshops, gatherings etc
  • Attach a bibliography of books etc that I am reading at the moment that are relevant to my work
  • Attach any correspondence to date
  • Think of this as a working document which will be discussed on May 4th.
  • Print a version.  I can also email Jesse in advance if I want
  • Think about how my work or intervention creates a platform for the other knowledge bases to rest on
  • Art can be a compelling material encounter.  Something that is obvious to me as an artist might be uncanny to other professionals (lateral thought of an artist as opposed to linear thought of other professionals?)
  • We discussed Yvonne Rainer – Privilege

Think about modes of knowledge that can exist outside of language in relation to my own practice

Cat asked that we bring a ceramic object tomorrow for an experiment she wants to try.

 

Initial meeting in Blackrock Castle Observatory (BCO) – April 22nd 2016

Placing Practice – Meeting in Blackrock Castle Observatory

Friday, 22nd April 2016

This was an initial meet and greet meeting to discuss the possibilities of a collaboration.  I sat down with Clair McSweeney (centre manager), Alan Giltinan (Systems Manager) and Denis Walsh (astronomy outreach worker).  Clair premised the conversation by saying that she is very happy to have a collaboration of some sort as Blackrock Castle Observatory would gain from reaching a wider audience.  This reciprocity could be achieved by my showcasing either my results to date, or some form of workshop or an exhibition in or around Science week, which is the 3rd – 8th October.  I explained briefly that what I would hope to gain from them is a better understanding of the phenomenon of light, from an astrophysics point of view.  I also explained that I am interested in perception and cognition and that I have, or soon will be, in contact with professionals in the field of psychology, photonics and neuroscience.  I talked briefly about wanting to find a way to link these various strands and broached the idea of a group meeting/workshop/event with these various professionals.  Clair mentioned that this could possibly happen during Science Week.

 

20160422_105802

  • Clair mentioned that last year was International Year of Light and that I could find research online
  • Alan Giltinan and Niall Smith (director of research) will be the people to talk to about instrumentation and optics
  • Caoimhin and Padraig are PHD researchers at the observatory and will also help me with research
  • Frances McCarthy (astronomer) has been earmarked for future interviews
  • Clair mentioned that BCO is currently collaborating with Pauline Gibbons, Trish Brennan, Lynn Marie Dennehy and Catherine Hehir – I need to follow up on this and see if there is a way  of participating in a joint collaboration, or if indeed this would be a feasible option for me.
  • Clair mentioned the possibilities of a joint exhibition with the above
  • I mentioned that I had a preliminary set of questions drawn up and Clair asked that I email this to herself and Alan. By so doing, they could get an idea of who would be best suited to answer my inquiries.

 

At this point Clair had to leave the meeting but Alan showed me around the research lab and onto the observation deck.  As it was raining, we could not open up the dome for the telescope but this can be arranged for a future date.  I took some documentation in the form of photographs, videos and sound recordings.  I continued to talk informally with Alan about my concept and optics in general.

 





METADATA-START


Padraig and Caoimhin

Alan Giltinan

 

I came away from this meeting feeling very excited about the possibilities of this collaboration.  I then travelled to CIT with Denis Walsh to attend a talk in CIT about gravitational waves and the recent observations at LIGO (The Laser Interferometer Gravitational-Wave Observatory) in America.  This talk was relative to my work in the sense that it approaches exploration of the cosmos in a way other than the visual and this use of other senses and ways of knowing interests me as a contrast to my explorations about light, sight and perception/cognition.

We serendipitously meet Niall Smith who could not make the morning meeting in BCO.  We had an informal chat about the meeting outcomes and I explained to him about the general gist of work.  Niall proved to be very interested in this line of inquiry and the way that the conversation in scientific/astrophysics fields has changed in the topic surrounding the nature of Being.

  • He mentioned that there is an interesting interplay about what makes beings sentient and the quantum idea of existing simultaneously in parallel universes.
  • He talked about Kevin Knowles who is a physicist who discusses the concept of the consciousness flitting between planes of existence and interestingly, how this makes some mathematical equations fit better.
  • Niall talked about his article which is published in an upcoming publication of IFAS (Irish Federation of Astronomy Societies) in which he muses about how our perception of the universe has changed drastically in our lifetime.

METADATA-STARTDenis Walsh and Niall Smith

METADATA-START
Niall Smith

 

Transcript of interview with Dr Marcin Szczerbinski April 14th 2016

Transcript of interview with Dr Marcin Szczerbinski

April 14th 201620160414_194502

Dr Marcin Szczerbinski is a lecturer of Applied Psychology in UCC

 

  • Lynda – Hello Dr Szczerbinski. Thank you very much for agreeing to agreeing to chat with me today. So, I sent you a list of questions that you had a look through.  Maybe the first thing we’ll do is go through those questions and if anything else comes up we can stop and branch away from that
  • Marcin – Absolutely
  • Lynda – Ok, so the first question I have for you is basically… What is your area of expertise? Can you talk to me a little bit about that..
  • Marcin – I would like to call myself a developmental psychologist. So I am interested in issues of child development, especially with how children learn language.  But also I am interested in special educational needs.  I have done some work on children learning to read and write and having some problems with it, a condition called dyslexia
  • Lynda – Ok, great. So your main area of focus is in language and special needs
  • Lynda – The next question I had for you was ‘From a psychologist’s point of view, how do you think cognition affects the senses or indeed how stimulating the senses in a deliberate way affects cognition and perception. Thinking of it from your point of view and your expertise, I think it’s a more a case of in the process of learning, especially special needs learning, do you find that there is any apparatus that could help, for example, like a certain shade of light in a room…Do you find that helps the child learn or is there any sound that can help the child learn.  Any thoughts on that?
  • Marcin – That’s actually quite a controversial issue but there is a bit of evidence suggesting that some individuals when reading find it actually rather hard to precise the contrast between the white page and the black ink. Actually ‘hard’ is not quite the right word.  They find it disturbing and tiring for their eyes to have this contrast.  For those individuals it might help to read on a background that is not white.  What particular colour it is that is optimal can be person specific.  There was a devise invented and patented called ‘Intuitive Chromometer which allows you to find the optimal contrast by playing with various permutations of colour.  It is controversial.  There are some researchers who rubbish this line of enquiry saying that it’s all nonsense, that there is no evidence for that.  There are individuals who claim that it helps them to read when the contrast is not between black and white but instead between black and the other colour.
  • Lynda – What are your personal views on that?
  • Marcin – I think it’s plausible that it is helpful for some individuals. But it should not be confused with dyslexia and some people who are doing research into this topic say that it is somewhat different from dyslexia.  The core problem with dyslexia is probably quite different.  For a start there are many kinds and causes of dyslexia but probably the most common one would be to do with the processing of speech sounds.  Individuals who find it hard to learn to read have subtle difficulties in processing speech signal which then might make it hard for them to map visual symbols which is letters onto speech sounds which is the essence of efficient reading.  It’s not the only factor but it is probably the most prominent one in what we call dyslexia.
  • Lynda – That is very interesting as it is touching off one of the questions that I had further on which was ‘Do you have any experience of dealing with people with synaesthesia. When you say that the visual patterns of the word cause problems with the ‘Speech Sound’.  Is that a cognitive thing, do you think?
  • Marcin – Yes. The technical term for what I am talking about is called phonological processing.  phonology is basically our capacity to process speech sounds – not just any sounds, not just music generally or environmental sounds like noises car horns but just speech sounds.  There is something quite specific about that in our mind and in our brain.  There seems to be areas in our brain or circuits within our brain that are devoted to just language.  Some individuals have problems specifically with the processing of phonology, with receiving, remembering and then retrieving speech sounds in order to speak.  And it is not that they are deaf, they don’t receive the signal but because centrally within the cognitive system the information is not processed precisely enough or fast enough so that the final information that was extracted and stored isn’t of high enough quality for certain tasks.
  • Lynda – Do you think it is a problem with the synapses?
  • Marcin – With synapses, with connections between neurons; – it might be… every aspect of learning is to do with synapses because that is the nature of learning. We have neurons; cells, each synapse cell in our central system is connected to, on average, another 5,000 neurons.  That’s how dense this network of connection is and our long term memory is effectively  having a vast elaborate network of connections between neurons and connections mean synapses.  Two neurons don’t really touch.  There is a little gap or cleft between them and how electrical chemicals are sent between them is that certain chemicals get from one neuron and travel onto the next which then sends an electrical impulse further down the line.  That’s how it works.  So any long term memory or long term learning is effectively about neurons connecting to each other through synapses.  Problems with learning could be to do with those connections being too few or too many or not being specific enough.  Or indeed, it might be to do with the mechanics of those so called neuro-transmitters on the synapses and not travelling the way they should.
  • Lynda – I’m veering a little bit now off my own topic, but just as a matter of interest; People who would be on the autistic spectrum. Is it a case of there is too much information being transmitted?
  • Marcin – Ya, that’s an interesting one. Just like with dyslexia, with autism you have several different competing theories and we don’t know for sure.  It is possible that with autism, just as with dyslexia there are many different sub types.  So you may have autism for a variety of different reasons, just like you could have dyslexia for a variety of different reasons. The symptoms may be the same but the causes could be different, so yes, one of the dominant theories of autism which is quite well tested by evidence is called the Central Coherence theory.  It says that in the brains and in the minds of typically developed healthy individuals we have this drive for coherence meaning that we try to extract the meaning from the information that comes to us.  We put things that we receive into meaningful Gestalts that is entities, wholes, and discard information that doesn’t fit; that is surplus to requirements; that doesn’t fit the broader picture.  Whereas people with autism don’t have this drive or have this drive much attenuated, much weaker and as a consequence it is harder for them to make coherent wholes out of experiences that they have, putting information into meaningful entities; interpret information if you like.  But there may be also, in some contexts, advantages to this.  In that those individuals are better at picking up some peripheral details within a particular pattern.  Details that generally don’t matter but in some contexts they might.  There is a task that measures that.  It is called an ’embedded figure test’.  It basically shows a complex geometric pattern, or sometimes it can be a meaningful pattern like toys, or silhouettes or trees and so on and so forth.  The task is to find that figure embedded in a broader pattern.  What is interesting is that for typically developed individuals it is quite hard to pick out the figure.  For example if a triangle is embedded in the leaf of a tree, we [as typically developed individuals] see the leaf of the tree, first of all, not the triangle.  It actually takes an awful lot of mental effort to extract that little element out of the whole because we see the whole, we don’t see the elements.  But individuals with autism are better at this task.  They see these embedded patterns much faster because they have less of a drive to interpret things holistically.
  • Lynda – That is interesting in terms of my research in terms of visual perception and it ties in with a further question that I sent you. How one’s views on the world affects what they see and how what they see affects their view of the world – That cross over and I think you hit on it there when you said that people with autism can see details rather than the gestalt.  I find that fascinating.  I am sitting here with you talking here today but how do I know that you are actually the way I perceive you to be sitting on this particular chair.  How do I know that it is actually real because my gestalt; my way of putting together the image/information and removing what is unnecessary to the main image could be getting rid of vital information.  I find that absolutely fascinating
  • Marcin – If you really drill down to this, it’s ok to acknowledge that you will never know if I am a real person sitting in front of you. It’s just an interpretation.  I think the main thing to understand about perception generally, not just the visual, but also the tactile and all the senses is that it is interpretation.  And that is what people normally get wrong.  When people think about perception, they think about it in terms of photography; our eyes receive information and somewhere up in our brain it is passively registered as if on a photographic image.  Or often when they think about how they hear things they think about this being passively registered on a rolling tape in our mind.  It doesn’t work like that.  The main thing about perception is interpretation.  We discard certain information, extract that information, attenuate some signal, foreground some other signal depending on what our needs are.  This happens automatically.  It’s a natural process. It may sound like a sad thing because there is so much coming to us and we discard most of it.  Yes, this is true, but without this ability we wouldn’t be able to make sense of the world around us.  We would end up as being severely autistic; being overwhelmed by stimuli which might be interesting but would ultimately make no sense.  Discarding information is the price we pay for making sense of the world.  Thinking about the world and perceiving the world are intimately connected.  You can’t really separate them at all.
  • Lynda – What I am trying to do with my art work is get people to stop for a moment and step out of their sometimes severally routine day; there’s drills in the road where people walk every day, it’s so routine – and make them pause, and think about – Hang on, did I just really see that or making them realise there is another way of seeing or of thinking.
  • This next question ties into what we are talking about – but it is quite specific – maybe too specific – I asked – Do people with neurological disorders such as schizophrenia ‘see’ the world differently. What I mean by this, in the case of sight, does the visual cortex behave differently, especially with hallucinations.  What I was trying to get at there was basically what we were just discussing about the discarding of unnecessary information
  • Marcin – People with schizophrenia may experience so called ‘Productive symptoms’ which is hallucinations – they see and hear things which are not there so they have perceptual experiences that would not correspond to reality as seen by other people. They don’t just ‘believe’ that they hear or see something.  They have the experience of seeing and hearing
  • Lynda – In a way – why is that less real?
  • Do you have any thoughts about phenomenon such as mass hallucinations and the power of suggestion in manipulating a person or group into ‘seeing’ an event or object
  • Marcin – Group hallucinations are ‘group’ hallucinations – they are a phenomenon that happen within a group. It seems to me plausible that some minor perceptual distortion gets enforced by other people agreeing to that.  It becomes contagious in a sense.  Social psychology has researched this quite a bit.  There are two strands to that – peer pressure and peer conformity.  Peer pressure is when someone imposes a pressure on you to behave or feel or experience things in a certain way.  Peer conformity is different and in a sense more interesting – It’s about wanting to belong to a certain group.  And when those dynamics operate, you may actually agree to things that you would never otherwise agree to and you actually ‘see’ and ‘experience’ then.
  • Lynda– Do people with depression physically ‘see’ the world in darker tones
  • Marcin – There appears to be some evidence that that might be the case. Some experimental work has been done showing that people with depression may find it harder at perceiving contrasts between colours.  They need more information to perceive contrast between black and white.  The experiment involved a checker board like pattern of black and white which flickered and the contrast between black and white was gradually diminished up to a point where nobody could see any distinction.  People with depression required far more of the contrast to be see if there was anything moving there at all in contrast to people without depression which would indicate that there is some perceptual contrast issues there – very subtle – we are not talking about obvious apparent black and white contrast.  There is also another study that I came across that would suggest that in depression that the perception of colour is more shifted towards the grey. So all the colours that they receive are saturated with grey.  It seems to me that it is at least plausible that there are subtle shifts in colours and contrast perception
  • Lynda – Which is nothing to do with the physically make up of the cones and rods in the eye. Is this something that is happening cognitively?
  • Marcin – That I don’t know. I don’t know if there has been any work done on the rods and cones in the eye and whether that would link with depression.  But I would be surprised if that was the case – probably more on the cortical level
  • Lynda – What are your thoughts on light therapy in its various facets, for example using light to mediate mood
  • Marcin – I think this area is murky in that it mixes up some approaches which may have good scientific grounding and other approaches which from a scientific point of view are completely bogus, at least theoretically. People who suffer from SAD syndrome suffer depression based on the seasons and specifically tied to the amount of light arriving at their eyes.  The mechanism is that the lack of light messes up the production of melatonin which is a hormone in your body responsible for sleep and wakefulness cycle.  The treatment for this condition is exposing people to the frequencies of the spectrum of sunlight, so not an ordinary table lamp which would have a different spectrum but a broader spectrum which includes ultraviolet.  This makes sense scientifically.  Then there is alternative medicine and approaches and crystalology and what not, which clearly from a scientific point of view have no grounding in how we understand the world, how we understand the physiology, psychology and the mind.  I suppose it might work on the placebo effect on a certain level.  You would have to take each and every therapy one at a time, because each and every therapy may have boni fide medical grounding in them whereas others are nonsense.
  • Lynda – Do you have any experience of dealing with synaesthesia
  • Marcin – Not directly. It is something that gets mentioned very often in psychology lectures.  It’s the type of topic that gets people interested.  It has been most explored in the context of mathematics in that some people (quite a few people it turns out) perceive numbers in terms of colours or sometimes in terms of smells.  So now numbers are not just abstract entities for them.  Their processing of numbers is tied with a subjective experience of a colour or a smell and some people claim that they solve mathematical problems that way.  If they carry out a calculation, they perceive it as colours shifting or changing which is quite interesting. (Lynda – quite poetic).  Many people perceive numbers in terms of a number line.  When they think about a number they imagine some kind of line along which those numbers are aligned.  Sometimes it’s a horizontal line, sometimes it can be a vertical line like a well.   Sometimes it can even be a twisted line.  This is quite common for many people to think of numbers in these terms.  I do or at least I did when I was a child and was learning numbers from 1 – 10.  I recall learning in that way.  My perception of numbers were tied to a particular spot in my home town, on the outskirts.  Numbers from 1 – 8  I think lived in a well, so 1 was on the bottom and 8 was half way through it and numbers 10 – 12 lived on a field  just outside of that well, 12 was living by the edge of a forest.  I didn’t have an image for numbers beyond that.  I am not sure if it helped or hampered me, it was just the way I felt about numbers and many people have similar perceptions. Now when I carry out calculations that image doesn’t come back but I can still recall it.  So when entities which can seem quite abstract to us may in our mind correspond to concrete perceptual experiences.
  • Lynda – That’s very interesting. Would you use that experience in your dealings of working with people with learning difficulties/disabilities?
  • Marcin – Not directly. It would be an interesting thing to do, perhaps.  One connection, but it’s an oblique one really, would be mnemonics – helping people remember tricky things by conjuring up consciously in their mind some vivid association with that information that they already remember very well .  My students have done some work on this in the context of children and adults trying to learn tricky spellings.  It seems to be a sensible strategy that if you have learnt to spell most words correctly but there is a dozen or so which by and large you can’t remember, is to imagine a sequence of letters of that word and then conjure up that sequence with some kind of image that would anchor those letters in your memory.  This is not specific to spellings.  Also when you try to memorise pronunciation of some tricky words, you can try to play tricks like that.  The way I remember the name of the pub Hensheys is that I came up with this image of two henchmen dripping blood having a french kiss.  That kind of glued it in my memory, so it now sits there and I can remember that.  So, that’s slightly different yet related in that you can use your associations which your mind has already formed, and most of those associations will be perceptual ones to do with images or sounds and then connect it with a meaning for something that you find difficult to acquire.  The more crazy and vivid this association, the better as some kind of crutch that helps you remember until such time when it is so committed to memory that you no longer need that.  It is a bit unclear as to why this works because it does work to some extent.  One possibility is that those vivid or already well established crazy connections actually support the memory for the new stuff.  The other possibility is slightly more trivial is that by coming up with this connection you simply think about this word that you need to process more times
  • Lynda – Do you think that it is done on a sub-conscious level? While you are thinking of an image to associate with a particular word, that the word is being processed through that time space unconsciously?
  • Marcin – Usually it’s conscious. This conscious processing involves rehearsal and it ultimately becomes subconscious or cognitive psychology prefers the word ‘Automatic’. – something just happens without the need for conscious awareness/ processing.  This is different from synaesthesia but it is also an example of trying to use your perception to harness something that is new or that is perhaps abstract.
  • Lynda – The final question that is on this list is – What are your thought on the creative process and how the creative process affects the behaviour of a person. Do you think the act of being engaged in a creative process change the way a person sees their reality.
  • Marcin – Do you mean making art or perceiving art?
  • Lynda – Lets break that down a little bit or unpack that a bit. Let’s think about the act of interacting with art in an audience capacity
  • Does their concept of reality change from an expose to a creative process
  • Marcin – I don’t know. I guess it depends largely on how deeply you engage with that artistic process or product which you are exposed to.  It can be superficial and then it is probably going to be transient.  Or you might interact with it on a deeper level which might change the way in which you perceive the world at least occasionally.  I can think of one example myself.  I think I was a teen when I first came across Impressionists and impressionistic art and how these guys approached and were interested in the business of perception.   How they dealt with the process of producing a piece of visual art different from the generations of art before them.  That intrigued me.  I remember some years later travelling on the way to university from my home town on the train.  It was a lovely bright morning but it was raining too.  We travelled by the road which was covered with rainwater and the sun shining on it and there were clouds in the sky – all that.  And it struck me that this very moment that this piece of asphalt; of tarmac is actually never black.  That we think of tarmac as being black and that’s the kind of semantic information encoded in our memory – tarmac is black, but actually, from travelling by this road for quite some time on that train, not for a single second was the asphalt black because it reflected blue sky, it reflected white clouds, it reflected the glitters of the sun.  None of it was black.  I remember being struck by this and connecting it what I had learnt or seen earlier on in the work of the Impressionists.  Sometimes when you put aside your presuppositions about what things ought to look like you start to realise that they are quite different.
  • Lynda – That is what I am trying to do with my art!
  • Marcin – What your senses are receiving is actually quite different from what your conscious mind is believing. I don’t think an accomplished artist would do this kind of suspension of belief for much of the time.  It is something we can do occasionally when we are at leisure because I think the daily business of going about our lives, we default to our assumptions.  Probably not really possible to get away from it for any length of time.  Occasionally we can stop and step back or step aside and look at things differently
  • Lynda – Unless you become an artist and you immerse yourself in that mind frame!
  • Have you engaged in a creative process
  • Marcin – No, not really
  • Lynda – Would you like to?
  • Marcin – maybe.
  • Lynda – That could be my reciprocity to you is to have some sort of a drawing class with you.
  • Marcin – My problem is that I am not a very disciplined person and I could never put aside time to engage systematically in those activities. Always immediate business of work and family encroaching on that.
  • Lynda – I know a few art activities that only take a minute or two and can be great fun.
  • Marcin – I would be quite intrigued in exploring visual medium and I would also be quite intrigued in exploring sculpture, especially clay – some amenable matter, something that would yield
  • Lynda – We don’t have to create masterpieces to engage in the creative process and find it cathartic.
  • Marcin – Maybe a psychiatrist would be interesting to talk to about hallucinations.
  • Lynda – It would be great to chat again. I need to pinpoint what it is exactly what I am trying to say from an artistic point of view.  Where is the artistic in all these scientific and maybe alternative therapy investigations.
  • Marcin – One thing that occurs to me now is that we haven’t touched off Art Therapy, which is obviously a huge field. It has bearings on depression and on other conditions.  There has been a systematic use of music and visual art in making people better and indeed poetry – verbal medium.  This whole field of art therapy is showing that engaging in art can change you emotionally.  It shows the connection between the two.
  • Lynda – Thank you Dr Szczerbinski for your time. I look forward to future ventures together!

20160414_194442

Placing Practice – April 12th

Feedback to Jackie

  • Lynda (me) Committing to an outsider group in order to oppose the system
  • Rosemary sent a link to an article about police in the US school system – kids get treated as criminals and as teens the way you are treated is hugely informing who you think you are = producing criminals. – linked to funding if you have more police in the school
  • Drills for active shooter situations = kids get completely freaked out – atmosphere of constant state of fear
  • Max Made in Britian, 1983 – judge – “You don’t invite leniency do you” – the pretense of why we do the things we do…. think we are contributed to society 
  • Manuela – Papillon.
  • Linda – Silence=Death: Speak up against censorship at the Smithsonian – movie directed by Rosa an Praunheim, 1990
  • Hella – Okand, kvinna, 2009 – performance – tries to jump off bridge to highlight the gaps in the mental health system
  • The Swedish Theory of Love, 2015 – documentary about loneliness – no cultural responsibility of family
  • Vicky – A performance where the artist was tortured. ” As painful and horrific as some of the tortures I experienced were, I knew full well that these acts would end and that I had final control over them”.  Jesse – Sado-machoism – is when there is consent.  Torture happens when there is no consent
  • Jesse (about discussion how artists are viewed -Manuela asked if it was a doctor who staged jumping off a bridge, would it have been viewed as violently? Jesse said that a doc would never do that because they are trained to feel they don’t have the power to do that, artists tend to ‘given’ permission)  stations of power – artist has a different power set than, for example a doctor
  • Cat – link to piece of technology that incorporates touch and technology – you feel like you can push through the screen, MRI. Jackie – the touch screens – How her work deals with the non-touch of technology.
  • James Richards, Sarah Browne – variations of subtly.

James Richards

 

 

Discussion with me that stemmed from my presentation of my Venn diagram

  • Find the artistic critical question… what would be the central question that you can gravitate towards in a contemporary sense. Find the artistic space that penetrates your question.  How do you propose a new space of knowledge what we are proposing.  Intersections of spaces and knowledge.   Take these knowledge spaces and bring together
  • Rana Hanedha
  • Practice of performance as a space artistically – liquid suspension – the space of interaction. Artistic space of performance – intervention – medium in which I mobilise these specific spaces.  Find the space within contemporary art.  Think how other spaces make performance knowledge.  What is the space and the skill that I bring to the space – behave agile artistically.  I am the knowledge agent artistically.
  • Test out a methodology you can use forever – how do artists have a special place within the production of knowledge
  • risk and an experiment
  • Brian Mac Domhnaill – good example of placing practice.  People who worked who worked with handling the dead.  he tested different ways of peerage between himself and other forms of labour.
  • What do non artists gain from interaction with an artist/artistic encounter
  • linking, spacial disruption , estrangement of knowledge, where knowledge gets ‘tidied’ way to, facilitate play
  • Take documentation seriously – be strategic – get someone to document if nec,
  • ontological = shared system of knowledge

Discussion about the required reading – Donna Haraway – Companion Species Manifesto

  • Self figuration – cyborg manifesto – the self being a self actualisation/self reproduction through cyborg….the self is a cooperative identity. prismic entry point = relevant to eco responsibility/political responsibility
  • in a ecology of companion species – what is the equilibrium between care/responsibility etc interspeciesly
  • Tausig – flesh and death – imbued with Catholicism
  • George Pytau Pataou
  • Cataphatic – to speak of the idea of god that is shared –
  • Manuala – likes the idea of the domestication of dogs. Dogs are seen as perfect companions but that any ‘faults’ are destroyed….the brutalities of the dog/human relationship
  • History of inter-human violence – if animals can still love us – this is hope – where we can gain acceptance and forgiveness – and move forward
  • Submission and dominance – become a reciprocal thing – to consent to be submissive -historical conscious evolutionary path to the submissive – not unconscious or unfree metaphor. Takes responsibility to be submissive.  We collectively submit to modes of power.
  • Victim blaming – Cat asked how this is different from victim blaming
  • realising that there is a power script between humans and there is a responsibility in this architecture. there might be a mutual construction of power.  Political sociological mapping of constructed agency.
  • The Jane collective – in 1960s – set up their own abortion access.
  • look for tipping point where agencies or power structures can be tipped
  • sociological disruptive practice – negate the script of power and capital
  • you are an agent within the script…. you find others within that script until you have a tipping point
  • radically abject bodies as a form of agency
  • Diogenes of Sinope– think of the dog of the philosophical actor…Diogenes is the father of cynical philosophy…didn’t believe in capitalism, wealth. His friend was a pack of dogs.  An early political dissenter…exists on the periphery… descent in knowledges
  • Philosophers-Diogenes

 

  • short movie – la vie d’un chein

 

  • Deep State – Museum of Non Participation – Jackie is going to send a link 
  • Spinoza – 16c philosopher
  • Jonas Micas film

Meeting with John Justice, staff researcher in photonic sources with Tyndall National Institute – 10/04/16

Placing Practice and Studio Research

Meeting with John Justice, staff researcher in photonic sources with Tyndall National Institute – 10/04/16

John called up to my studio and I gave him a brief over view of my work, before concentrating our conversation on the preliminary experimental work that I have conducted with lasers.  We then went on to have a discussion around light, both from a scientific point of view and from a creative standpoint.  Below are bullet points from this informal meeting.  John is willing to be part of a more formal exchange in the future, as well as continual informal exchange of ideas and information.

  • Look into fluorescent paper with lasers. The laser gives a brief ‘echo’ on the florescent paper.   This could then be videoed or be part of a performative piece.  THINGS TO BE MINDFUL OF:  Check the wavelength of the laser I am using.  Certain wavelengths will not work on the paper/phosphorescent surfaces.  BE AWARE THAT CERTAIN LASERS, ESPECIALLY GREEN, CAN BE DAMAGING TO PEOPLE’S EYES.
  • Research Ultraviolet excitation using black light. – for installation work
  • Look into glow in the dark pens and paper – again for installation work/interactive light based display work
  • John knows a woman who works with crystal healing and transference healing. I need to follow up on this in a few weeks when she is back from holidays.  Her name is Sinead O’Sullivan
  • There is a scientific based light therapy called photodynamic therapy. This involves using directed laser lights in conjunction with chemicals to give localised treatment to cancer patients.
  • There is on-going scientific research into the healing properties of light. This is done by making the cells more energised by flooded it with light of certain wavelengths, usually near infra-red, and thus increasing the healing process
  • NASA has been involved in photodynamic therapy studies
  • We talked about the feasibility of collaborating on a project involving holograms. John is interested but this needs more research and it might be the summer before all parties are available to work on this project.  I need to research the process involved with the photosensitive paper and what are the requirements of development.  For example, can I use black and white?
  • John was interested in the sculptural aspect of my work and had some interesting ideas of how to translate the machete idea into a instillation/sculpture. I need to sketch up a few of these ideas and suggestions
  • John has expressed an interest in calling up to the studio some evening after dark and when there are no other students around so that we can play with laser effects through lenses etc
  • John is going to try to borrow a pair of protective eyeglasses for my laser work.
  • There is a possibility that John will be able to cut a miniature led 2D shape that I could then use for LED experimentation. He is getting back to me on this.  I will draw up the shape required

Placing practice with Jesse – April 5th

Placing Practice with Jesse – April 5th 2016 – notes

Rosemary

The deviant act –

– Was going to contact the sociology dept. – rethinking that

– Think about the ethics of asking students to engage

– she emailed Paul Greene – she talked to him about finding your own voice

 

Me

3 points when making up a statement

  1. Whats my line of enquiry
  2. How does this manifest itself
  3. How do I hope this will move forward – what is the open ended enquiry?

 

  • Think about video art and the process of meditation and the optical.
  • Check if there is a synesthia support group that I could contact
  • think about the materiality of the lens as an energy
  • Think about abstraction of academic knowledge
  • Maybe facilitate a workshop/discussion bringing together neuroscientists and cosmologists etc with crystal and light healers
  • Think about what am I bringing that becomes an abstraction and estrangement of knowledge
  • Oliver Sacks; neuropsychology – ‘The man who mistook his wife for a hat’
  • Where is my artistic space

Do a venn diagrame of how my areas of enquiry could overlap

 

Jackie

  • Donna Harrowway
  • Jean-Luc Nancy – The Inoperative community
  • https://visrfreeschool.files.wordpress.com/2013/11/nancy-the-inoperative-community.pdf

Cat

Migration

–  Think of a way to compose a critically engaging question that is also of benefit to the other person

Vicky

howler monkeys in Myian history – 2 howler monkeys – art and music – the loudest

 

Max

  • William Burrows – cut tapes
  • Patricia Lacey

Frank box – white noise – EVP voices carry through this

 

  • Simon Cruithne/Clodagh Emoe collaboration in Glendaloch -http://www.clodaghemoe.com/mystical-anarchism-3/

mystical_image2 - Clodagh Emoe Simon Cruithne

  • Donna Harraway – Companian species. Also TED talk – The Cyborg Manifesto

  • Charlette Prodjer
  • http://britishartshow8.com/artists/charlotte-prodger-1531

prodger_01_0

  • The Brig – Jonas Mekas

 

– Send Jackie a piece of art that helps her inquiry –  Comparison between enforced disciplines and self inflicted disciplines, especially from an online and media point of view and the effects that this has on an individual….How do you view yourelf through enforced (self or otherwise) systems

 

Reading for next week –  Donna Harraway – Companion Species – about ethics/empathy

Placing Practice, week 4 – 8th March 2016

Placing Practice – 8th March 2016

We started with a discussion about the pieces that we sent Max in response to his practice.  What follows is bullet points from notes taken during this class

  • Max: Fredrick Urigson (?) and Carl Michael von Hausswolff – artist whose sound work uses and references EVP.
  • Lynda: This is a short video about an interactive instillation that was part of the ‘What If’ project that I was involved with many years ago!  Although not specifically about haunting, it was based on giving the viewer an idea of shared space in time, in terms of public space.  It ran in the Triskel art centre for about 2 weeks as part of a much larger installation.  I thought you might enjoy the ghostly, slightly unsettling quality.  To interact with the piece was even more unnerving and impressive!  This piece was spearheaded by Fernando Tunon

 

  • Jackie: Bojan Fajfric:  Theta Rhythm (2013) – film in which Fajfric films himself re-enacts his father’s morning routine on the day he fell asleep during a political/governmental session in 1987. –
  • Rosemary – Michael J Anderson: Histoire de Marie et Julien: Jacques Riette’s material ghost story (2004)
  • Ian – Alex Williams: – Not Abel – Review of Dublin and Cork Shows (2010) – poignancy of denuded spaces. Snap shot ghost;  pictures of people from Sir Henrys.  Technological distance through scanning and reproduction.  Haunting, or the question of the past inside the present
  • Linda – Andrzej Zulawski: Possession (1981) – film about possession and mental illness
  • Cat Gambel – The Feufollet – The Feufollet is lights in the bayou – bogs lights (gases/burning of organic materials). (transitory spaces)  The way we interpret death in our natural spaces – assigning our own interpretation

 

  • Synopsis – Space and the interpretations of space and the narrative this brings

 

  • Max – meeting
  • no financial commitment = no agenda
  • Electromagnetic energy
  • D2 radio that gives you white noise
  • You see in here what you want to see in here
  • The Stone Tape, BBC 1970s – tv movie – Nigel Knelle
  • Patricia Lysaght – banshees – folk archives – Death messanger – Oral history

 

Afterwards we had a non verbal interactive performative piece led by Helle.  She had asked us to bring a tool and/or a material to interact with.  This was done first in a designated square of roughly 5ft square, as our ‘stage’.  Each person had 1 minute to interact with their material/tool in an impromptu way.  Some interesting pieces emerged from this activity.  She then brought us to a bigger space where she encouraged us to interact with another person and their object for 5 minutes.  This evolved into people interacting with other people’s objects in a singular way.

A discussion ensued where we disseminated the activity.  The general consensus was that the first activity of the singular/personal interaction with our own objects was quite successful but that it was hard for non-performers to make the leap of interacting with another person and their objects in a relatively unstructured way for a 5 minute period.  Part of the success of the first piece was because there was more instruction and people felt they had a familiarity with their own objects so that a dialogue of sorts existed prior to the exercise.  This was a grounding basis for people, especially non-performers to have a familiar ‘launch-point’ to their performance.

It was suggested to lead people through a series of activities incrementally to make them more comfortable with performing with another person.

Overall, I found this an interesting activity.  I did feel slightly uncomfortable, especially with the 2nd activity of interacting with another person.  I would have preferred more instruction for this activity.  I can see how it could inform or relate to other people’s work, but I haven’t made that connection to my own work.

Placing Practice with Jesse, week 3 – 01/03/16

This is not a Pipe
Following a presentation by Rosemary outlining the artists or works that people felt could help her practice, we read the 2nd chapter of ‘This is not a Pipe’ by Michel Foucault. The following are bullet points of words highlighted, discussions and various artists and philosophers/writers etc

Calligram = a word or piece of text in which the design and layout of the letters creates a visual image related to the meaning of the words themselves.
Examples of Calligrams

images 

 

IMG_1615

 

Piano Calligram

pg 21 of ‘This is not a Pipe’: “The calligram uses that capacity of letters to signify both as linear elements that can be arranged in space and as signs that must unroll according to a unique chain of sound. As a sign, the letter permits us to fix words; as line, it lets us give shape to things.”

Tautology – the saying of the same thing twice over in different words, generally considered to be a fault of style (e.g. they arrived one after the other in succession ).
synonyms: repetition, repetitiveness, repetitiousness, reiteration, redundancy,superfluity, periphrasis, iteration, duplication; More

• – a phrase or expression in which the same thing is said twice in different words.
plural noun: tautologies
• – LOGIC a statement that is true by necessity or by virtue of its logical form.

Jackie: The development of language – understanding the representation of a thing to describe it to something else. Letters are different they have a different form of authority and hierarchy.
• pg 22 of ‘This is not a Pipe’: “Let us begin with the first and simplest. It seems to be created from the fragments of an unraveled calligram. paint and writing – intertwined for me. And it is indicated by the word “this .” We must therefore admit between the figure and the text a whole series of intersections-or rather attacks launched by one against the other,…”

Ian – lesson in ambiguity. After this text was written, approach to art changed.
Discussion about Placing Practice

JesseWhat is the role of knowledge production in art?
systems in art. Is there something unstable about the production of knowledge of art…
jackie – ambiguity – that is what is what i like about art… is it bullshit – is it not???
• learning because you want to learn. Looking into things because you are intersted in,
• Trying to understand things from different perspectives
Ian – people in galleries from all walks of life – for everybody. Essentially that is what art is trying to do – unravelling situations so you can present a number of ….
• art – many ways of approaching. in terms of knowledge production…limineal spaces… what goes on between work and viewer.
Dave Hickey -art critic
• All good art has capability of producing knowledge in an area that is communal

Jesse – What does the role of the artist have to offer in other disciplines???
• artist – the non linear approach – no end point – not as important as situation you are in. Other professions find this intimidating
Ian – artists can bring other concepts. different types of thinking. one good example Douglas Gordon and Philippe Parreno – Zidane: A 21st Century Portrait Zidane: A 21st Century Portrait

PdT-Parreno-104

Jessie – What does the idea of ‘performance’ mean for an artist as opposed to other professions – ie sport, law etc
Manuela – endless space for an artist to explore different fields – can swing between different thoughts. Other professions are very structured (these are the results that we want from you)
• artists – boundless field – go out and explore.
Jackie – the word can mean different things (performance) – can be a time based thing. for an artist, firstly – as a mole of art – it is not a rating/evaluation of an artist – it is what the artist undertakes
• Ian – painting – self involved expressive situation – how can this involve into other practices, bar therapeutic situation. Painting is the only one that is not parallel. It can only be therapeutic. The knowledge produced in a painting is a closed statement
Manula – no!!!

show in IMMA about physics – astronomy – still resonates – in terms of interaction
Grace Weir – relies on interdisciplinary knowledge production. Is this some part of historic rupture in our understanding of painting

Dust

Ian – painting is still viewed traditionally for pleasure
• What is a painting? Post 20th century – painting does not cross, engagement, in terms of parallel
Jackie – is it because it is a singular activity?

Jesse – There will be a time when you have to evaluate your own performance in terms of your practice and the other profession.
Think about 1st contact – who is the 1st person you would like to contact – be ambitious. could be as simple as sending an email. Skype, etc…. who is the first point of contact who is relevant to you.
• Find ideal person 1st, then think of the question….
These are my ideal people: John Justice with Tynall. (in terms of lasers, LEDs holograms etc) This contact has already been made. David Eagleman, neuroscientist and writer. Ben Ashton, artist. Cork Blackrock Castle Observatory. It was agreed that the artist Ben Ashton is not really for Placing Practice, but I could follow up on this contact on my own. I am going to look into cognitive scientists and maybe neuroscientists. Also, perhaps I will make contact with Blackrock Castle Observatory – to what end, I am unsure as yet.

Max – send him peer feedback – based on ‘ how presence can manifest itself in places of absence. Places that had a function and no longer does

• Cork supernatural society – anyone who knows of an artist that deals with this
• What is concrete, what is supernatural. Phenomenology . Cinematic – think broader than the cinematic. sound might be important

von Hausswolff Memory Works
– sound and visual artist ashes he had taken from Auschwitz.

cm_von_hausswolff

• He gets down to bare frequencies and amplifies it
http://news.nationalpost.com/news/swedish-artist-uses-ashes-from-holocaust-concentration-camp-in-painting

social geography – Social geography is the branch of human geography that is most closely related to social theory in general and sociology in particular, dealing with the relation of social phenomena and its spatial components.

Bodies politic – Maynooth – Bodies Politic is a symposium that brings together artists and academics to discuss the bodies of individuals and the body of the state in the context of the 1916 commemorations.
www.maynoothuniversity.ie/sites/default/files/assets/document/Bodies%20Politic%20Symposium_0.pdf

Be ambitious as possible in terms of enquiry for your practice

  • George Baitille – The accursed share
  • The_Accursed_Share,_French_first_edition

Kintsugi, The Japanese Art of Fixing Broken Pottery With Gold

Kintsugi-2[3]

Manuela – send her something about the shamanic and ritualistic in relation to rites of passage
• Rites of passage educationally. research ritual.
For Manuela: African Initiations: Rites of Passage Through the Eyes of an Initiate (Paperback)
• By: Shakmah Winddrum

 

• necessary transformation – what is the thing that could transform your practice….. present about own work – 5 mins

Ian said that the statement ‘Rites of Passage’ could be used for most, if not all of our practices. For me – physical passages

• present yourself as MA:AP crawford in emails.

Me: Compose the email/s that I will use as an introduction to my Placing Practice potential placements. This will be critiqued next week by the class. Make sure to include what it is I am asking of the ‘Professional’
The eye/perceptionthink about bringing together spaces/ways of ‘knowing’ – for example an Optician/Ophthalmologist , a cognitive scientist, a neuroscientist, scientist working with lasers etc, a blind person(?), an artist/s working with light and or perception, lens makers etc

Think about Systems of Enquiry – the questions you ask and how you frame them