Thoughts on: Current Practice and Post-Media Considerations
by Beauchamp Art
Some of the recent discussions I have engaged with have been particularly useful for navigating my ideas, which will feed into my dissertation and future projects. There is enough to occupy me for a lifetime; and starting at the means of navigation (looking at online networks) therefore seem a logical start (feeding from my peer Elizabeth Aubury’s dissertation involving the rhizome and the mapping and discussion of non-linear artistic practices, which was one particularly rich source of debate last [academic] year.
With regards to making practical work, I have taken a few photographs, though they remain unprocessed. A post-media structure of working , that involves a range of (multi-)media activities and the principals of a series, focusing on the interrelation between works and how they contextualise one another may be a better way of understanding how I wish to go about producing work. This could potentially involve using several works discussed together, though not nessisarly proximate to one another, through means of a networked exchange – such as the hypertext of an online blog format which I use already – but also as stand alone articles/presentations, as offered by such sites as the poignantly titled Medium that allows users to crate scrolling presentation of multi-layered text and image presentation incorporating moving visual elements and dynamic text that changes with the user’s interaction. More so than a PDF document, more in-line with the Flash-based websites which enable a greater level of flexibility for the user’s interaction, transforming the information interface into a video-game-like hybridised remediation).
My online blog functions as an effective central anchoring point for much of my practices, as it enables me to connect my various works and the different aspects of my practice (via hyperlinks, embedded images, videos and other media materials) and initial an open dialogue with an online audience through written considerations, and document the progress of my work and ideas, though often it could be seen that much of what I say is a soliloquy; a monologue on an empty stage to a deaf audience.
(This interest in the use of a presentation format owes much to the Wysing Arts Centre’s resent presentation performances that incorporates dynamic backdrops and the direct interaction between performer and projected PowerPoint backdrop as part of the Futurecamps events. As well as Andrea Fraser’s Art Must Hang piece last year at the Hamburger Bahnhof, a drunk reinvestment of a previous presentation, playing on the semiotics of the boardroom and lecture, also dealt with in another fashion in Martha Roslers’ Semiotics of the Kitchen, or in entertainment media such as in the stand-up comedy of Dave Gorman’s PowerPoint presentations done as a satire of the format and to ironically embrace the narrative potential of the media.)
The inter/intra-media area of thought was discussed at length with my peer Kelly Briggs this week, with regards to both of our work involving multi-facet outcomes that do not necessarily confide to the logic of linear or singular products (similar to the principals of an on-going series, though not resolving through the completion of a set of inter-related works, but expanding around a concept and the interest laying within the connection between works rather than as examined separately. Much as net-art happens in the transmission of data, (rather than being the product or producer at either end of the exchange) art generally is actuated in the transmission from (or dialogue with) the artist to the audience, however delineated and interactive that relationship may be. For the audience this inextricable involves a phenomenological experience and a stimulation of the sensorium.