sketchbook: gathering (the line, artistic practice, concepts of drawing/contact)

— I have been busy. Busy also with things that will eventually move into here and serve me both for Research and BoW.

I had my first discussion with Rachel, my Research tutor, and used part of that to figure out some of my current questions about the DI&C project the line (I had posted a brief note for her just before the tutorial here).

What I am figuring out is really four things:

  • the relationship between gossip, violence and pleasure — in the context of the project that sat as networked/digital identities; for my wider things it concerns what I have also discussed as the delineation of public/private; the questions of family archives, auto/theory fiction, performative and unstable/unreliable narrators.
  • the relationship of that kind of work (which in drawing/contact finds a more intimate, closer focus and intention) to its audience
  • the conceptual/methodological frame for this work but also for my wider working practice: how do I research, work with text and concept?
  • what constitutes methodology, an artistic practice and a new piece of work, and what is the relation to the original, else-where originating work.

I am in the process of writing a 3-4k text about the work that will be the basis for a 15 mins talk > in the context of a walking/arts conference, so part of how I address the latter is an interest in movement (analogue/digital) as a walking methodology (and with that I am close to my ideas about the body as drawing tool, of movement/performance and the sensorial).

In this, I republished the line as a Facebook album; I wrote an account of this process and observed it; I also investigate a written form for a spoken work, multi-layered visual body of work. I have found the concerns over linearity, progression and multiplicity really useful in understanding what my interest in this work is but also how it functions best (as I realised it in the context of DI&C’s focus on digital identities) and what other forms and processes are lying dormant in it.

I have also re-recorded some of the videos (one as visual; two as audio). Doing so, I added a contemporary position and framing to this. This, along with feeding it through FB is immediately productive of new material, new work, and so the manuscript in itself already presents a new piece of work being generated.

The work purposefully seeks contact (by exploring dialogues, encounters, past and present) and is relational, small-scale and intimate. It is at once private and at once, in its public present not. The purpose of presenting this work as mine (either through the Facebook account, or in person through a talk) rearticulates it and asks a whole series of questions about authorship, subject/object of work and audience. The latter have only sporadically featured in my previous modules and I am finding the disentangling of key questions here really useful.

(I had decided not to fold the conference presentations into course work as such — the form is too academic for me to hold much interest for either Research or BoW — but what I am doing here is serving as a basis for some key points of the research as well as of my artistic practice and how it informs the programme for BoW, more of that to follow).

 

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