34,787 research outputs found
Animation Installation: the Affect of Place
Goosebumps, hairs stand on end, a knot in the stomach, an inexplicable feeling of chill or even panic...walking through an unfamiliar place can have a visceral impact on the human subject.
This artistâs presentation will consider the experience of viewing animation within the context of a site-specific installation and, through reference to examples of exhibitions by Birgitta Hosea in which contemporary animations are displayed as an intervention in historic spaces, will investigate the affect of site and the impact of the viewing context on the embodied perception of an animation
The shudder of a cinephiliac idea? Videographic film studies practice as material thinking
Long after the advent of the digital era, while most university-based film studies academics still choose to publish their critical, theoretical and historical research in conventional written formats, a small but growing number of scholars working on the moving image have begun to explore the online publication possibilities of the digital video essay. This multimedia form has come to prominence in recent years in much Internet-based cinephile and film critical culture. In this article, I will consider, above all from a personal perspective looking back at two of the sixty or so videos that I have made, some of the possibilities that these processes offer for the production of new knowledge, forged out of the conjunction of the film object(s) to be studied, digital technologies of reproduction and editing tools, and the facticity of the researcher(s). I will argue that digital video is usefully seen not only as a promising communicative tool with different affordances than those of written text, but also as an important emergent cultural and phenomenological field for the creative practice of our work as film scholars
Brass Art: A house within a house within a house within a house
Performances from Brass Art (Lewis, Mojsiewicz, Pettican), captured at the Freud Museum, London, using Kinect laser scanning and Processing, reveal an intimate response to spaces and technologies. âA house within a house within a house within a houseâ links historical and cultural representations of the double, the unconscious and the uncanny to this artistic practice. The new moving-image and sonic works form part of a larger project to inhabit the writing rooms of influential authors, entitled âShadow Worlds | Writersâ Roomsâ
Here Be Monsters: Imperialism, Knowledge and the Limits of Empire
It has become a truism in discussions of Imperialist literature to state that the British empire was, in a very significant way, a textual exercise. Empire was simultaneously created and perpetuated through a proliferation of texts (governmental, legal, educational, scientific, fictional) driven significantly by a desire for what Thomas Richards describes as âone great system of knowledge.â The project of assembling this system assumed that all of the âalienâ knowledges that it drew upon could be easily assimilated into existing, âuniversalâ (that is, European) epistemological categories. This belief in âone great systemâ assumed that knowledges from far-flung outposts of empire could, through careful categorization and control, be made to reinforce, rather than threaten, the authority of imperial epistemic rule. But this movement into ânewâ epistemic as well as physical spaces opened up the disruptive possibility for and encounter with Foucaultâs âinsurrection of subjugated knowledges.â In the Imperial Gothic stories discussed here, the space between âknowing all there is to knowâ and the inherent unknowability of the âOtherâ is played out through representations of failures of classification and anxieties about the limits of knowledge. These anxieties are articulated through what is arguably one of the most heavily regulated signifiers of scientific progress at the turn of the century: the body. In an age that was preoccupied with bodies as spectacles that signified everything from criminal behaviour, psychological disorder, moral standing and racial categorization, the mutable, unclassifiable body functions as a signifier that mediates between imperial fantasies of control and definition and fin-de-siĂšcle anxieties of dissolution and degeneration. In Imperial Gothic fiction these fears appear as a series of complex explorations of the ways in which the gap between the known and the unknown can be charted on and through a monstrous body that moves outside of stable classification
Haunted childhood in Charlotte Bronte's Villette
In Villette, the obvious fakeness of the phantom robs it of uncanny status, reducing it to a form of narrative decoy which deflects attention away from what are consistently described as unheimlich in the novel: children and childhood. Though Lucy Snowe's own childhood past is shrouded in mist, an Object Relations reading reveals the souvenir value she attributes, instead, to domestic furniture and fittings, themselves operating as phantoms giving shape to an otherwise formless sense of loss. Ultimately, as the novel's ending shows, this superficially consolatory mechanism simply ensnares the adult Lucy in an ongoing false self-image: the abandoned child
Un-framing: towards repeated acts of deferral and fracture in fine art practice, production & consumption
This paper considers the repeated blurring of the distinction between artwork and display setting, between the âpictured spaceâ and that of the spectator in my practice as an artist. Examples of âvisual disturbancesâ of existing conventions of art production, reception and consumption, through processes of repeated deferral and fracture are discussed. The paper also explores problem finding and delayed closure and reflects on the following issues arising from the practice:
âą The temporary suspension or âshort circuitâ of conventions of studio methodology and practice.
âą The conceptualisation of a âruined, pictured spaceâ and repeated deferral of âoutcomeâ.
âą The disembodiment of divisions between: object and space; literal concealment and project fantasy; settled comfort and lurking dread (Melville, H. in Vidler, A. 1999, p.57).
âą The problematisation of perceived physical and conceptual boundaries between art & âlifeâ.
âą The production and consumption of a body of work that speaks to notions âruinâ and catastrophe.
The paper shows various attempts to engage with (work in) âthat placeâ described by Buren and Phillipson; to disturb the conventions of production and consumption; to problematise the notion of the art object as a commodity; to work towards a âdelayed gazeâ
The Mediumship of Listening: Notes on Sound in the Silent Arts
This article is a series of excerpts from the authorâs most recent book Sinister Resonance. It begins with the premise that sound is a haunting, a ghost, a presence whose location in space is ambiguous and whose existence in time is transitory. The intangibility of sound is uncanny â a phenomenal presence both in the head, at its point of source and all around, and never entirely distinct from auditory hallucinations. The close listener is like a medium who draws out substance from that which is not entirely there. The history of listening must be constructed from narratives of myth and fiction, silent arts such as painting, the resonance of architecture, auditory artefacts and nature. In such contexts, sound often functions as a metaphor for mystical revelation, instability, forbidden desires, disorder, formlessness, the unknown, unconscious and extra-human, a representation of immaterial worlds. Threaded through is Marcel Duchampâs curious observation â âOne can look at seeing but one canât hear hearingâ â and his concept of the infra-thin, those human experiences so fugitive that they exist only in the imaginative absences of perception
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