With setting out a week-by-week timetable of the year, I have had to think more about prioritizing work, and facing that I will probably not get to try the majority of my ideas out whilst at uni, and should focus on one or two pieces before the winter break, which already breathes coldly down my neck. however, a useful discussion with a Graphics student did set out the simple terms on which they were allocating time for research; as the dissertation comes to around 1/5th of the grade, they were allocating each Friday for there contextual investigation, and using the rest of the week for there practical work.
As I intend to undertake the 10K extended essay, I will inevitably dedicate more time than most to critical research, though I do not wish to unnecessarily sacrifice practical work. It is also frustrating having to spend time planning that could be spent doing, but realistically in 3rd year this is inevitable, and I still managed to attend my tutorial, two meetings for the Participation project with Nick, the Briefing, as well as the first DrawSoc and FemSoc meetings, along with filming peoples faces for a new piece that uses image stabilization similarly to Unfamiliar, Instability, and some more photo editing and back-dated writings.
“Mac users can testify […] there is no other object or person I have spend as much time with.” [Shenk, 1997: 70]
Immediacy and intimacy exists both with and through interfaces. Their surface, an area of encounter which not only acts as a through-point to access other people or locations, but is itself an object of encounter, which may contain synthetic or representational imagery, so may appear as a transparent window, but the opacity of the interface is never totally subverted. For example, a Tablet Computer is not a synthetic object, or just a window, but a tactile piece of hardware that operates under the dual function of access and through point, one which is both optic and haptic. With the interactions of the touch-sensative interface allowing the user to suspend their disbelief at the presence of the tablet in order to interact with digital material in a seemingly naturalistic series of highly social-encodic hand-gestures. Like any other screen, it contains and presents optic objects, but is itself haptic.
Cardboard Cutout Gallery Audience with Photographed Mirror
As my current practices involves dealing with the social aspects of modern technology, making videos, taking photographs, and sometimes engaging in performative works, but I wish to develop ideas and methods of display that will directly involve the audience’s involvement in the exhibiting of a piece, so that each interaction offers a unique experience.
So for the immediate future I wish to focus on producing works that are intrinsically related, and therefore completed through their display, rather than existing excursively in a static, digital environment being viewed passively. I want to make participating in my work desirable, interesting, and compulsive, echoing the sense of the growing constance of digital technologies in everyday interactions, as well as the electronic apartheid of non-interaction and immediacy through direct action.
After a 2.5 hour group tutorial with Victoria, and a 1-on-1 tutorial with Mark, and an influx in group discussion with peers, I have ascertained a greater level of clarity this week for my direction than I managed over much of the summer.
I also managed to get 99 people to sign up to the Drawing Society at the Societies Fair, wrote a vaguely linear plan for my dissertation and received my fake grass sample in the post. I shall hopefully experimenting with display throughout next week.
“Central to modern expectations, and modern ethical feeling, is the conviction that war is an aberration, if an unstoppable one. That peace is the norm, if an unattainable one. This, of course, is not the war has been regarded throughout history. War has been the norm and peace the exception.” [Sontag, 2003: 66]
As a continuation from the previous two texts, especially expanding the points raised in the second, in a more critical dialogue using academic and journalistic sources. In the following text I will be discussing the meaning of ‘Post-War’, Propaganda, and Photography, along with Instantaneity, Horror and Collateral. In this examination on the multi-media war, there is no definite argument throughout the text, rather a series of points being discussed, with some examples regarding conflicts from the 20th century, current affairs, and their relationship to the media; continuing from a previous text on related matters, and the interrelation of representations of contemporary conflict; war as a multi-media subject, and post-war as a post-media product.
In the second part of this discussion on War, I will be setting out some areas of discussion, revolving around ‘Post-War’ and current conflict issues, discussed in brief here, with further examples in the third and final section of these texts. Post-war may be considered the post-media continuation of war as a multi-media subject; exemplifying the problems of multi-faceted media objects, although here the emphasis is on the political environment in which war is exhibited, rather than a media analysis.