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Project Proposal

V2

PROJECT PROPOSAL - MA FINE ART DIGITAL v2 (v1>)
last updated: 18/03/19

Flood Story

Aims

  • To explore potential relationships between neurological and geological processes, including shared language and discourse across relevant research subjects.

  • To investigate a range of approaches towards dealing with mythologised personal narrative and memory in both art-making, and behaviour/psychology, in order to potentially further and inform the episodic structure of work produced.

Objectives

  • To learn the use of CG and relevant modelling software; VR and 360° video, and sound processing, in order to develop mapped/simulated ‘environments’ and scenarios from fragmented memories. Explore the development of work rooted in threads of personal narrative extrapolated through digitally collected source material (mesolithic artefacts, tabloid articles…) as metaphors for wider concerns (migration, climate change, dementia - home).

  • To explore the visualisation, and audio translation, of data, specifically concerning neuroimaging and geological mapping/modelling via networking and collaboration (visits, observation, workshops), in order to inform context and methodologies.

  • To critically [re]consider and evaluate the position of, and the boundaries of, printmaking and the wider nature of the print as a pivot within my practice: im/permanence, in the digital space, through testing, and discussion.

  • To effectively contextualise my practice within the treatment of current neuro-bio-logical and geological/environmental concerns, including debates stemming from the Anthropocene argument, in contemporary art-making, through organised communication and collaboration with identified specialists and practitioners.

Context

Historical

- Joseph Beuys [Mythologies/Narratives, Sculpture, Documentation]
- Robert Smithson [Writings: Politics & Abstract Geology, ‘Sedimentation of the Mind’]
- W.G. Sebald [Memory and Trauma]
- Seamus Heaney [Environment, Memory, Metaphor]
- Stephen Jay Gould [Progress, Natural History-Narratives]

Contemporary

-
Shona Illingworth [Immersive Installation, Memory, Constructions of History]
- Elizabeth Price [Archives and Collections, Materiality, Experimental Film]
- semiconductor (Ruth Jarman and Joe Gerhardt) [Film & Sound, Installation, Animation]
- Shezad Dawood [Site & Narrative, Installation]
- Katie Paterson [Geologic Time, Technology, Collaboration]
- Eva Papamargariti [Text, Fragmentation, Digital-Physical Boundaries]
- Pierre Huyghe [Intervention, Adaptation & Appropriation, Systems]
- Yesenia Thibault-Picazo [Narrative Potential of Materials, Interdisciplinary Collaboration]
- Heather Phillipson [Senses, Disruption, Language and Digital Environments]
- Emma Charles [Documentary, Fabrication, Digital Formats, Temporality]
- Smudge Studio (Elizabeth Ellsworth and Jamie Kruse) [Performative Research, Material Behaviours, Geologic Change]
- Ryoichi Kurokawa [Time-Based Sculpture, Digitally Generated Structures]
- Felicity Hammond [Materiality, Sculptural Print, Construction-Installation]
- Trevor Paglen [Experimental Geography, Active/Gestural, Communication & Technology]
- Heinrich and Palmer [Film & Sound, Installation, 3D Mapping and Laser Technologies]
- R.H. Quaytman [Mediation, Print, Acts/Chapters & Sequences]
- Nicolas Lamas [Archaeology and Technology]

- NeuroData Collective | https://neurodata.io [Imaging Datasets, Mind-Brain Relationships]
- Human Connectome Project (USC) | http://www.humanconnectomeproject.org [Interactive Neurological Data]
- Memory Studies Association | https://www.memorystudiesassociation.org [Research Community]
- The International Institute of Geopoetics [http://institut-geopoetique.org/en/articles-en/37-an-outline-of-geopoetics]

Theoretical

Research & Discourse:

Human Ecology of Memory / Memory Ecologies & ‘New Media’
Psychogeography - ‘Psychogeology’ ?
Simulation, VR/360, Augmentation
Physical & Digital Processing, Translation of Digital to Physical (Internal / Neuro-Geo Data]
Bio-Techno-Geologic interconnection in the Anthropocene / Autochthony (Geology — Identity)
Fractal Brain - Neurobiology - Ancestry
Heterotopias & Virtual Spaces

Methodology

- Interdisciplinary Engagement / Support:
Wellcome Trust / Wellcome Collection
Space & Memory Group / Visual Communication Group (UCL, Institute of Cognitive Neuroscience)
Human Memory Research Group (City University of London)
York Neuroimaging Centre (Hull York Medical School)
Lumen Art Projects
British Geological Survey
On the Endless Here

To Visit:
- Rotunda Museum, Scarborough
- BGS Keyworth Core Store & Biostratigraphy Museum, Nottingham
- The Lapworth Museum of Geology, Birmingham
- Sedgwick Museum of Earth Sciences, Cambridge
- The Gordon Museum of Pathology, Kings College London

- Rock Room, UCL Collections
- Manchester Museum Earth Sciences Collection


To Interview:
- Rebecca Edwards, Curator of arebyte Gallery
- Heinrich and Palmer (Process, Scanning Technologies)
- Katie Paterson (Human Relationships to / within Geologic Time)
- Naiara Demnitz (Wellcome Trust Centre for Integrative Neuroimaging)
- Mike Stubbs, Director of FACT, Liverpool (Curator of Strata-Rock-Dust-Stars, York Mediale 2018)
- Adrian Friedli, Executive Programme Director - Yorkshire Visual Arts Network

- David Gelsthorpe, Curator of Earth Sciences, Manchester Museum

Potential Methods & Processes:
- Emboss/Debossing & Extrusion, extended exploration of digital and geological associations (compression, embossing)
- Animation (Blender/Cinema4D) - fragments of memories and scenarios reconstructed, to be processed and used in combination with other processes, ‘acts’ of a narrative - Episodic Memory.
- Exploration of performative elements including writing, spoken narrative.
- Translations: Data (Neurological, Geological) > Film & Sound / 3D Print
- Manipulation of geologic material & substances

Facilities & Resources:
Camberwell Workshops - Low Residency & Term-Time visits
Hull Makerspace (3D Printing/Scanning, Laser Technologies, CNC, Ceramics)
Local Companies - Blok CNC (3D Fabrication) / GF Smith (Paper, Embossing Processes)
Home Studio (Printmaking, Digital, Molding/Casting)

Outcomes

(Proposal 1) - I’m currently interested in the pursuit of outcomes that reflect the processes of fragmentation of human memory and geological material in terms of the time-bound, and developing works to form sequences that have a sense of narrative. For example this could include combining 3D printed outcomes from transcriptions of sound recordings or neuroimaging, with short animations that seek to reconstruct my childhood memories of landscape. The scope is very broad in terms of media at this point.

Continuous research into and exploration of new territories within my practice, including learning the use of CGI software, VR and 360° video production and 3D printing are rapidly informing the framework of the project, and the inter-disciplinary potential of developed outcomes, in line with my key objectives, listed above, at this point. I anticipate a range of outcomes utilising these technologies, which will share symbolic and metaphorical threads, and are shaped together towards a narrative which is reflective of the episodic and spatial properties of human memory.

Work Plan

Term 2, January-March 19

Visit: Sunk Island / Mappleton, Rotunda Museum Scarborough, Manchester Museum (Enquire meeting with curator of Earth Sciences)
Outreach: Hull Geological Society, interviews with identified arts practitioners

- Learn Cinema4D / Blender
- Continue kiln firings with locally collected clay (saggar box experiment for unprocessed samples)
- Continue film and sound recordings across Holderness landscape
- Interview family members on their memories of/within/around the Holderness landscape - record these
- Explore geo-mapping and modelling - relevant software and methods, make enquiries with University of Hull
- Visit and begin inductions on 3D print, CNC, Lasers at Hull Makerspace

Low Residency - Tues 19th - Thurs 28th February
- Collaboration and dialogue
- Arrange visits to UCL Rock Room, Gordon Museum of Pathology and Queen Square Archives

Term 3, April-July 19

Visit: Sedgwick Museum of Earth Sciences Cambridge (research enquiry, relevant meeting/interview), Rotunda Museum Scarborough
Outreach:
Cambridge Neuroscience Society, Wellcome Trust (possible support, resources), continuous communication with identified research groups and centres, York Neuroimaging Centre and range of University research groups

- Refine the breadth of project map and begin to develop the framework of a narrative to work into - this will consist of a series of works - or ‘episodes’, each episode differentiated by a distinct metaphor and environment
- Begin film and sound recordings across Holderness landscape (Mappleton, Sunk Island, Ryehill, Flamborough)
- Learn methods of translating and processing sound recordings into visual forms
- Continue to learn use of Blender + Cinema4D - focus on creating and applying textures, scene settings and environmental variables for animation
- Refine extrusion models for 3D printing and schedule use of equipment at Hull Makerspace
- Explore funding possibilities for accessing film and sound equipment/resources
- Develop understandings of neurologic processes and memory research through collaboration with specialists

Possible Camberwell Visits - Tue 28 - Thu 30 June, Fri 12 July

Bibliography

- Making the Geologic Now, Ellsworth & Kruse et al, 2012. [Book/Online Project]
- A Thousand Years of Non-Linear History, Manuel DeLanda, 2000. [Book]
- Digital Memory Studies: Media Pasts in Transition, Andrew Hoskins, 2017. [Book]
- Memory (Documents of Contemporary Art), Ian Farr et al, 2012. [Book]
- The River of Consciousness, Oliver Sacks, 2017. [Book]
- Art in the Anthropocene, Davis & Turpin, 2015. [Book]
- Adventures in the Anthropocene, Gaia Vince, 2014. [Book]
- The Work of Art in the Age of Mechanical Reproduction, Walter Benjamin, 1936. [Book]
- Critical Mass: Printmaking Beyond the Edge, Richard Noyce, 2008. [Book]
- Perspectives on Contemporary Printmaking: Critical Writing Since 1986, Ruth Pelzer-Montada et al, 2018. [Book]
- Art of the Electronic Age, Frank Popper, 1997. [Book]
- The Paradoxical Object: Video Film Sculpture, Joan Truckenbrod, 2013. [Book]
- The Forces Behind the Forms: Geology, Matter, Process in Contemporary Art, Beata Ermacora, 2016. [Book]
- Snap to Grid, Peter Lunenfield, 2000. [Book]
- A Geology of Media, Jussi Parikka, 2015. [Book]
- Memory Practices in the Sciences, Geoffrey C. Bowker, 2008. [Book]
- Edgelands, Paul Farley, Michael Symmons Roberts, 2012. [Book]
- Searching For Memory: The Brain, the Mind, and the Past, Daniel L. Schacter, 1997. [Book]
- Joseph Beuys: Vitrines, Actions, Environments, Mark Rosenthal, 2004. [Book]
- Memory: An Anthology, A.S. Byatt, 2008. [Book]
- Geological Rambles in East Yorkshire, Thomas Sheppard, 1903. [Book]
- The Emergence of Memory, Conversations with W.G. Sebald [Book]
- The Geologic Imagination, Sonic Acts, 2015. [Book]
- Sunk Island, Hubert Nicholson, 1956. [Novel]
- Waterland, Graham Swift, 1983. [Novel]
- Walking to Hollywood, Will Self, 2010. [Novel]
- The Rings of Saturn, W.G. Sebald, 1995. [Novel]
- Neuroplasticity, Moheb Costandi, 2016. [Book]
- Post-Truth, Lee McIntyre, 2018. [Book]
- The Future, Nick Montfort, 2017. [Book]
- Connections between the Geological Sciences and Visual Art, Othmar T. Tobisch, MIT Press 1983. [Journal]
- Criticality, Imagination and Interaction: A new basis for Art Science Curation, Mike Stubbs & Mark Wright [Article]
- What does the Anthropocene mean? Art, ethics, collaboration for new geological era, GV Art, 2014. [Conference Recording]
- Offret / The Sacrifice, Tarkovsky, 1986. [Film]
- Lo and Behold, Reveries of the Connected World, Herzog, 2016. [Documentary]
- Brain Matters (http://brainpodcast.com/search/memory) [Podcast/Community]