Stromverteilen: a drawing/contact practice as research portfolio

In the process of designating material for assessment, this portfolio for the Research module needs to go here (again). I will have posted it (likely, possibly) earlier when I used it to explore the links between BoW and Research; I also find an earlier padlet to take an earlier role, a body of work: a core, https://oca.padlet.org/gesa492645/rthyyn7qr5iz1zak), and the later Ariadne thread to point onwards into SYP (https://oca.padlet.org/gesa492645/p8217c8jsc8rx4h8).

This padlet served as digital meadow, forest/village edge to situate, explore and reach out to and beyond the various works that were emerging around the site of Stromverteilen. I also then organised towards the resolution of the For Cover BoW while this padlet held onto the numerous enquiries and abandoned (or lost) sites that preceded the village/forest edge.

I am adding pointers forward as well as any missing works that I understand Research objects into this form and link here (and on menu sideline) as key post for understanding the reach/resonance of my practice as research.

Made with Padlet

What I understand as walking (notes)

Springgay/Truman (2018) Walking Methodologies in chapter on inclusion are good with movement:

what they mean, what is conscious, directed; what is intuitive: absolute and relative>> this relates also to participation (and the problem of inclusion); which in itself is precisely why my stuff isn’t Bourriard.
<< it relates to Manning’s minor gesture; but perhaps Harney/Moten on hapticality are better suited?
<< there is a naivety in new materialism: the vitalism is exactly the problem that the Critical Materialism identifies as vulgar materialism.
So:
— Springgay/Truman propose: land + geos, affect, transmateriality and movement as new developments of focus in walking methodology/research.
Movement then supersedes Lefebvre’s rhythmanalysis
Nomadic ethics of Braidotti are clearly strongly informed by Deleuze… I think that frame and background is good and resonates with how I work in processwork so this may be a good way to link that working practice (which in turn informed my artistic work, also in the line) to academic material. (see blog here: https://close-open.net/2021/04/28/nomadic-thought-and-transversalism-research-folder/)

But: then, what I have done is use this to transverse, move across spacetime and site/location: analogue/digital; fiction/non-fiction; gossip/sincere argument.
>> there is something in this that then takes the movement further (and arguably considers nomadic theory or hybridity as the constitution across << I mean, in some ways it challenges the notion of virtual space being virtual, non-haptic, non-moving
There is clearly something in the contemplation, stillness of Green that I try to garner, make use of (and in some way it proposes a counter-move to walking art).

Re violence, there are a number of issues that take argument with the flaneur and what he can do… that is a relatively simple route to follow.
Am I doing something else beyond that though?

<< the secrecy, reveal, moving stories and accounts along.

Much of my work in Drawing 2 explored this (see this link for movement in that module’s blog: https://investigatingdrawinggh.wordpress.com/?s=movement), the talk in Prespes (July 2019) and the subsequent publication articulated this in writing (see MS here: https://close-open.net/2019/10/26/moving-with-a-line-gossip-secrets-a-messenger-app/).

Immersiveness and my work (current status)

There are a couple of themes that continue right throughout my work (certainly from DI&C onwards across Level 2 and 3); immersiveness is one of them: the sensorial, an expanded field of drawing, the stepping into work that I make and the relationship it seeks between work and viewer/reader/participant around closeness and distance.

For the production of the BoW this was significant at a number of turns, e.g. when trying to devise what constituted drawing/contact, what the role of lint and the quotidian was, the sites and the reach/resonance of these and how to resolve the BoW.

In the Research (as practice) it was engaged with methodologically: moving-with explored the bodily registers of immersion (or lack thereof); of making mobile artists, viewer and work; the glossary circled around tools, obstacles and sites to explore the relational entanglements at the centre of the work; the Herz/Stein concept explored tactility, bind and release in material close-up.

For SYP I am trying to explore the exhibition checklist as PaR enquiry to get a better handle on (or perhaps a position to the side of) distance as key tool for how this practice moves onwards.

I am collating here the various posts that trace the engagement with immersiveness as concept up to now (at the point of submission for assessment of BoW and Res, and at Part 2 of SYP).

In chronological order the key posts so far are:

Practice as Research (PaR) (> research folder)

>> key methodology. 

[these are excerpt notes, not all page numbers are given nor is it clearly indicated what is paraphrased and what a citation; this is resolved in the dissertation, this is for further reference posted here only]

Estelle Barrett & Barbara Bolt eds 2006.Practice as Research: approaches to creative arts enquiry.

Barrett, Introduction

Situated knowledge: the subjective and the personal in creative arts research (p.4f)
Paul Carter (2004): Material thinking; to understand subjective and relational dimensions of artistic process: decontextualisation from a universal in the artistic process in order to bring to bear ‘instances of particular experience’. ‘In staging itself as an artwork, the particularity of experience is then returned to the universal’.
Bolt 2004: develops this further towards ‘materialising practices’ to understand ‘the dynamics of the circulation of artistic products… which implies an ongoing performative engagement and productivity both at moments of production and consumption.

>> a relationship is constituted between process and text (and not between image and text), ‘of which the first iteration is necessarily the researcher’s own self-reflexive mapping of the emergent work as enquiry.’

In this, studio practice and own critical commentary in writing enter a dialogical relationship of creative arts exegesis, this in turn creates further development.
Relationship to practice-based learning: ‘A general feature of practice-based research projects is that personal interest and experience, rather than objective “disinterestedness” motivates the research process’.

>> crucially: new learning, not anticipated; emerging methodologies. (6)
Interdisciplinarity (7): Carter 2004 makes the argument that the relationality of the artistic process constitutes interdisciplinarity.

Chapters 1 (Carter): ethics of invention.— not so keen after all… seems confused.

Chapter 2 (Bolt): studio practice and meta-reflective work of exegesis.

I can request her PhD, bookmarked in Safari, if I need it?

Chapter 3 (Perry): creative writing as research; autobiography and fiction: a shift from the tangible object (novel) to the intangible benefits of studio enquiry.

<< this seems really relevant. 

It is an excellent expose of tracing narrative construction and biographical links; of filling one with the other and the blurring of reality and fictional spaces and what that as practice allows for.Writing as searching and contemplating of difficult (to understand) things.The exploration of the journal as creative work itself (rather than a means to other work)

>> this is highly relevant too.

I marked a few pages.

Chapter 5 (Iggulden): space within illuminated scripts revealing existing codes in medieval writing practices.

There is something in this process of copying, repeating, adding mistakes that is important (and the general focus on text is actually, if not in subject matter than in intent — probably even the transcendental focus) quite close to my own; There is something too in the projects she sets up and how she uses cursive and repetitive writing that is relevant.

There is a bigger strand about silence and obliteration of women’s experiences in there that is fairly generationally specific but nonetheless relevant too in the framing of ‘matters of no consequence’

Chapter 8 (Goddard): excess of reflection and core aspect of studio-based enquiry.

Lorne Story video postcard
He finds quite late a family postcard from the 1930s that functions formally like the video postcard that he has been making for his PhD116: ‘As a writerly practice, the exegesis can be as creative, fictive, and as full of playful conjecture as the other creative practice (or practices) it seeks to elucidate.’

> this is precisely how the parallel project for D2 functioned!

<< use the methodology for Res to help you articulate your methodology across writing/production (this stuff is what all the people in Glasgow are doing, it is not new to you. What is however new is that this is academic part of it, the one that ‘legitimises’ it.)

epistolary format: the Dark Object is one; are parts of mine such too? Are the FB posts epistolary?

<< my FB practice is this kind of stuff. it really is. do I want to pull this further into the process?

There is more on 117 about what is epistolary and how it functions

Overlapping fields: autobiographical writing and subjective video practice.

How to perform the reflective process of exegesis as part of the research itself.video: direct monitor to see what is being recorded (unlike film): one camera records while the other was replaying: key meta-narrative in Lorne Story.

He describes the story and how it nestles one layer into another (over time/memory)

> ‘Ultimately, a correspondence occurs between the practice and the exegesis, as a series of interactive dialogues’. (118)

His exegesis was a supporting document, trying to negate the assumption of explanation (119)

A letter or postcard are accessible to a range of different audiences (they are leaky, blurry in that sense), erasure, defacement and destruction in process of delivery (transmission isn’t guaranteed).

(check for quote when using, this is close to original)

> this applies to most things but it’s a good elucidation of how transmission, exchange works and I think while I worked with this before I, and it is active here too. Use it.‘What makes visual, performative, and media arts-based research so distinctive are the ways in which they conduct their enquiries beyond the sphere of written discourse.’ (120)
I don’t seem to find any actual text of the thesis, nor the video. Here is a text:http://www.doubledialogues.com/article/stop-telling-me-stories-she-said/

Chapter 9 (Stewart) Mapping and other research practices as informing artistic research; bricolage as notion.

Chapter 10 (Barrett) work is not the product but the process of enquiry and evaluation (Foucault and Haraway)

Chapter 12 (Barrett) Exegesis as meme.<< this is well before digital memes. quite interesting.
there is a definition on role of exegesis for Australian Res as practice qualifications… is this useful to consider? what does it add? or perhaps overcomplicate?https://ecu.au.libguides.com/research-methodologies-creative-arts-humanities/exegesis