Our Relationship with the Image as a Form of Being-With

This paper looks at the development of the artistic work from a narrative work into an experiential one. How the presentation of sublime in art has moved us away from finding meaning in narrative into taking on meaning through facing our relationship to the other. It traces how this change in communication has meant that the viewer’s experience with a work is the work. It takes an historical and theoretical perspective before discussing a proposed project, The Lamps of Presence, as a work employing these theories

Marking Time, Moving Images:Drawing and Film

This article explores the range of ways in which artists have brought the practice of drawing into contact with film. This has to do with a range of related but different practices: the articulation of time and the relationship between movement and stillness; the use of film stills and photographs as source material for the production of drawings; the inscription of manual marks directly onto the surface of celluloid film; and the use of film and digital projection to present the process of making drawings. The article ranges widely from works made in the 1940s and 1950s by Henri Matisse and Henri Michaux, to experimental films made in the '60s by Stan Brakhage and Birgit and Wilhelm Hein, to contemporary artworks by Vivienne Koorland, Oscar Muñoz, and Susan Morris