The tutorial for this assignment took place soon after submission and just as pandemic lockdown was taking hold. My social life had quietened in its analogue form and the distance modality was pushing hard on the laptop camera and microphone.
It was quite a special experience to have this tutorial and discuss this subject, which is entirely not concerned with epidemiology nor actually science, in the context of what is unfolding around us.
The tutorial, its discussions and insights sat as excess in a world that had begun to get stilled (with some anxious twitches).
I spent some time transcribing much of the tutorial recording and it’s the longest report I compiled: it talks through the exhibition objects and the research findings along with with the padlets and case studies that I had submitted. It also spends considerably time unpicking the research objects that this module is generating too.
I am including one segment of the discussion, towards the end of the tutorial which tries to conceptualises what the case studies are attempted and how these can feed back into the dissertation process:
Are the three padlets related? Do you see a line, a link across the three?
There is something, and that goes back to the glossary form. I changed the glossary in the sense that each quadrant of the glossary addresses a part of the dissertation and there is a narrative in how each quadrant unfolds.
There a question of geography and scale across the three padlets:
- (a) The staircase is a traditional, definite site in how it is delineated. I use the site then to step into a fantasy, into a dream space. So while it’s the most physical site it is also the one that moves most clearly into fantasy.
- (b) The verge/weed has a geography to it, slightly more dispersed and yet it works along a line. Each of the processes hover along a path and the side to that path.
- (c) The four events, drawing/contact are most abstract, almost purely event- based, almost just the relational aspect between myself and somebody else.
— There is probably more in it but this is first off: they operate on different scales. There is a fourth strand, the Herz/Stein which sits across the entire Research; there are in total four quadrants in the Glossary and four series (three of the latter currently have a padlet).When I talk about the quadrants. The one on the right is methodology; the middle ones are empirical, the top one is theory, the bottom one are the objects; the one on the left are the concepts that I enact and explore.
With the case studies plus Herz/Stein as four series, they don’t quite that easily map across the four quadrants.AP: to write a usage instruction for the glossary as note underneath it (37:00)
The glossary can function as a descriptive way into the work, and a potentially great way of using a glossary. It is important to go back and frame that glossary.
I did this for a PK ‒ I have done quite a few PKs over the year to explore the work ‒ and this PK has an illustration for this on a series of slides.
AP: to explore the relationship of each series to the glossary: what are they and where are the gaps? The spaces inbetween the screen tabs and how you visualise or articulate those connections across.
— I didn’t expect to be able to discuss the forms of writing that are new to me, strike me as innovative, and it’s fantastic to be able to do that in these tutorials. To be able to discuss the writing as if they were art, is immensely useful. I address the glossary items in the dissertation but not as glossary. This, above, will be a way to do so. I will take the glossary and the padlets as art objects and explore them as objects, their relationship and what they fall short of for Research. Rachel returns to a discussion from last time about tracing paper and things being seen through tracing paper and to explore the layering between and across them. There is something in the idea of layering things on to each other, those three padlets and the glossary quadrants and how they function as layers on top of each other and how to move about. I know how to enact these processes with art objects, with drawings, I will explore this process for the glossary and padlets. Doing the review in January, February was really positive as it showed me how the review creates new objects. To push that process a bit further still on the basis of the padlets and glossary, to feed these into the process and see what they generate. I will have my planetary system like this, effortlessly, or an appendix.
— It will also clarify the extent to which my implicit complexity needs other forms of clarity or forms of entry to be accessible in the way that I would like these to function as objects and to be quite deliberate about these.
Rachel suggests that this is important, going back to the opening of the tutorial and ongoing events: that there is material and insights that this work is able to offer and that it should offer. It is important to explore those entry points so that different types of people can access what you are doing.
I am attaching the full tutor report: Gesa Helms 492645 A3