that week 11 reflection I was supposed to do earlier

Things are finally coming together, which is a big relief because I have been very stressed about it. Last week we had a very productive meeting on Friday after still not having everything together on Wednesday when we were supposed to. But what we did have was a very productive meeting about our next steps and then when we met on Friday we spent time discussing the myth of the gargoyle, and about how the stories have changed over time. From there I edited down the audio to a ten minute track and then sent it back to see what the team thought.

Harry edited together some footage which ended up being really cool and now I’m playing with what he put together and the audio we made. Look it took a moment to actually put something together but at least we finally might get two video’s finished and that’s a big relief to the tiny breakdowns that I’ve been having the past two weeks.

Anyway they’ll be more in the next post

the implicit danger of crossing the road

So I love a metaphor, most writers do, I really don’t understand writers who don’t love a metaphor I mean how are you supposed to convey stuff to people if you can’t compare it to something else.

So, crossing the road. When you cross the road there are at least four problems to be aware of;

  1. the cars that might hit you
  2. the trams that might hit you
  3. your idiot friend who crosses like she has a death wish and if you don’t follow her you get left behind and if you do follow her your chances of being hit increase by 50%
  4. the crushing time pressure of existence

And making these films feels a bit like crossing the road at the moment. There’s so many variables that feel like they are about to hit me and I’ve got to make it to the other side unscathed. The other side being the finishing of the video. And it just feels all a lot uncertain right now.

My house-mate’s been forcing me to leave the house for half an hour each day. Which has solved at least one of my problems, in that I’ve been using those walks to collect footage for the films. Tree’s, churches, all the things that don’t exist inside a house.

And I’ve been writing my section of the essay film. Which feels a lot like I’m very good at the wax poetic thing and very bad at the creating substance thing. I’ve got a lot of words that don’t interconnect and at the end of the day don’t really mean anything anyway.

And I’ve been thinking a fair bit about how our essay film relates to phenomenology because I know that’s a requirement of the task and it’s gotta be the secret to unlocking the puzzle that is this essay film. And so during my four am spiral thoughts because I don’t sleep easy anymore I thought about what would happen if the segments that we split the film into would be if they were different versions of the same story? If they proved by virtue of their existence the different ways that stories can exist and change, and if they allowed for the meaning, the pleasure of the film to be created by the meaning in between them. By the meeting of the many. And then I wondered if something like that had to be tangible, or if it was enough to make it, say I know it’s there as the filmmaker but you as the viewer should take whatever you want from it. Is it enough?

So I know these updates should be like everything is going great, but things are going, great is fake and stress is real but I can see the other side of the road. It is possible to get there. That’ll do.

if the sharks eat me here’s what I didn’t get done

So things have kicked off. I feel like I’ve jumped into the deep end of the pool and then immediately forgotten how to swim, and oh by the way the swimming pool people imported sharks yesterday and I have ten minutes (or two weeks) until they eat me. So yeah, overwhelmed you might call it.

My group had a really good chat last week to nail down the details of each of our films which had been whimsical up until that point. But it left me realising how much work we have to do.

Here’s the list of things I was supposed to get done before tomorrow;

  • write a conspiracy concept for the essay film
  • film elements and play for the poem film
  • start drafting the written elements of the essay film and have segments that we can start filming
  • look at stock footage options for poem film
  • edit photos for essay film

Here’s the list of things I did do;

  • conspiracy concept (Harry wrote his before me and we’re using it because it’s way better then anything I was going to come up with)
  • film elements for poem film (some of them. all are bad. I’m glad I didn’t decide to become a filmmaker I’m not good at it)
  • I have a notebook page with thoughts about the essay film rhyme we wanna use – getting to the other stuff
  • cried (not just about this though my life is very dramatic and I put a lot of stress on myself)
  • promise myself that tonight I WILL do everything on the former list in the whole like 12 hours I have before class tomorrow (suffice it to say I am intimately acquainted with caffeine)
  • chat with Mon about who is going to do the written part

But progress is progress I guess and the faith that it will all come together because it has to is what is keeping me going right now. We took on a lot.

I did make these very cute Jabberwocky wings, as we decided that was the way the audience would be able to tell what was the Jabberwocky in our poem film, anyway the wings were for my cats (they hate them, and me now)

But they feel like the only thing I have really accomplished and I am proud of them so here they are. Yes I coloured them black myself.

Anyway, that’s the update for this week. A lot of things left to do, and a lot of hope that it’s all going to work out in the end.

the things that I actually learnt (assessment 2 reflection)

 

I think as artists we concentrate on perfection. On making a consumable, finished product, because we have to merchandise our skills to live in this capitalist world and so we learn to be better. We learn to be perfect.

 

But when you are creating nothing is perfect, you can always grow, always be better, and somewhere along the way I forgot that to get better you have to fail first, and that failure is the precursor of growth.

 

And so, it was liberating to be told to play, to fail, to experiment, to learn. As someone who grew up as a ‘gifted kid’, at some stage I grew out of being able to fail. It was always expected of me that I could do something, because I used to be good at it. It’s like the world grows up and leaves you behind. So, more than anything, these first six weeks have been a joyful experience of having back the pleasure of failing.

 

I have learnt to open up. I have posted work on my blog that I was incredibly proud of – my content warning film -, stuff that I have allowed myself to be incredibly vulnerable in, but also just my blog posting in general, I have let my heart spill open in those posts and trusted that the reveal of my process would cushion the fall. And I have created stuff that has just been bad – the poem film, though everyone was incredibly nice about it, but it’s okay I know it was bad. I had fun doing it and I’m learning that that’s way more important.

 

I feel like my work has gotten rougher over these six weeks. The first video I made for the longing poem was neatly edited and I spent time getting exactly the right angle and the essay film I just poured my heart out on some paper and recorded it and went, that’ll do. And this is a victory. Slowly I’m killing the perfectionist inside me. What I produce doesn’t have to be perfect, it doesn’t even have to be good. All it has to do it matter, to have meaning, that’s enough.

 

I found studying the concept of the in-between, the things that you cannot put into words, or understand in conventional form really freeing. I’ve enjoyed grasping and not being particularly sure what I am grasping at but clutching my fingers around it, nonetheless.

 

There’s something untenable about being a creative, a way of understanding the world that always seems to leave something missing, or maybe that’s just me. These theories presented a way to try and begin to understand it, or at least to create in tandem with it.

 

Perhaps that’s why I was so drawn to both Phenomenology and Affect. The focus on tactility really spoke to the place deep inside of me that feels everything, that experiences the world through pain, and an ache and a longing and the way I understand how the body can react so viscerally to something that isn’t technically there. There was something in those theories when they asked me to figure out what it was to be alive in the world, I realised that I yearned to find that out, and it’s not something you can say, not something you put words or meaning to. It’s a feeling. When you have it, you know. These theories drew me back to the fact that I started creating to feel alive and that’s the feeling I chase when finishing a novel or movie, and the feeling that I want to delve into and drown in.

 

It’s also been fascinating to see what everyone else has done, to have the opportunity to learn from my peers as well. Everyone in this course thinks so differently to me, and I’ve loved being able to see how they approached the tasks.

 

I feel like I was supposed to say that I learnt something about different ways of perceiving the world, of approaching film making, and writing, and in some aspects I did. I learnt to follow feeling when I started responding to the tasks. I learnt that for something to have a story it does not have to have an easily accessible narrative; if one exists at all.But I’ll be real, I’ve always liked to push boundaries, I said in a blog post that the box and I were mortal enemies and I stand by that. But what I have learnt is how to give myself permission to follow my gut. Wherever that takes me, even if it’s into disaster. Because sometimes disaster is exactly where you are supposed to be. And that’s the kind of energy that I’ll now be able to take into the rest of the semester, and hopefully beyond.

drowning.

I kept it simple this week. The concept of an essay film was one I struggled to grasp and to be honest I’m still not sure that I got it (I feel like I end up saying that a lot). This has been a bad week, so it makes sense that that was the vibe I latched onto for my essay film. Plus I love a good metaphor. I resonated with the personal aspect of the essay film and the idea of posing questions rather than an argument with concrete conclusions. But at the same time I feel as a creative I often how to curate a finished work that it’s hard to think of trying to create a work where the end point is still in motion, where you pull back the curtain and let the viewer see the process. In some ways the concept of an essay film feels like the behind the scenes extra on a dvd.

I also wanted to do the footage myself, and I’m kind of disappointed that I didn’t get to do the whole film from scratch, so I think I struggled with that. In some ways having the visual already was a good exercise, and the parameters were kind of nice, but in other ways because my understanding of the essay film was that you provided a very personal take, I struggled to implant that onto footage that I had not filmed myself or conceived of myself.

But I’ve managed to produce something. And I don’t hate it. I think I enjoy the mismatch between the visuals and the audio, I also hope that my audio puts doubt into the visuals, as poses questions about what one is watching unfold. Truth is a construct built differently by everyone and this time I offer you just the building blocks rather then the finished masterpiece. Build your own truth folks.

Sure this video means one thing to me, I had one intent. I offer you the idea that for this video we try for death of the author. I constructed one narrative, but it is not the only one, it’s not the only story that this tells.

 

tw: implied suicidal ideation

 

Reflections on Phenomenology (assessment 1)

Before I gave my presentation I was definitely shaking. Anxiety washed over me as I went through phases of calm panic, and intense panic, I assure you the two are different. It’s not new, but I’m usually a confident presenter, I guess it was the content. Perhaps it was that it was too personal, perhaps I was afraid as I often am of being too out of the box. But I committed anyway because that’s kind of the entity I am.

Reflecting back on it, no matter how unsure I was, I’m proud of the work that I created, the exploration that I undertook, I’m not sure what I learnt other than how to convalesce something, though I’m also not sure what that something was. But it was something, I came out the other side with a kind of gut feeling, hard to describe. Perhaps the kind of feeling we seek to find when we create art that deals with the kinds of things that cannot be ascribed to words, yeah, I think I found that.

The presentation itself I could mention things like, I think I rambled, I don’t know that I got to all the content I wanted, and I definitely ran out of time. But I thought it was okay, in the heat of the moment you can never really tell y’know. But that doesn’t feel like the kind of reflection I am supposed to be doing.

I feel like watching everyone else’s presentations really solidified the theories for me, watching everyone’s different explorations and explanations provided more scope and context for the ways that the theories could manifest and be developed, and everything that everyone had to say was so insightful and different and I feel like I got a lot out of learning about what everyone else had done. I especially enjoyed the different angles that everyone came at the topics with and how even though there was a limited topic scope no one’s presentation was the same, everyone had their own takes.

The unfortunate matter is I’m still not sure what to reflect on. Let’s try; what have I learnt from Phenomenology? That things interact I guess? That touch is by necessity both a consensual and non- consensual experience. That while when we touch a body we consent to touch, but when a body touches us we do not always consent to the touch, or we might choose to revoke our consent if it becomes uncomfortable.

I also uncovered linking the concept of ‘life’ and the concept of ‘the body’ and I’m not finished in my exploration of the linkage because I’ve only just uncovered the thought but I feel like there’s something there, in broadening the way our body reacts to life, can explain the way our body reacts to other bodies. And is film in itself a kind of ‘life’? How does the film’s body react to the film’s life reacting too… It’s a causal change I’m on the precipice of understanding but I don’t have the words to do it right yet.

So to sum up, what did I learn? Where did I grow? There’s lots of edges and maybe’s and ledges and threads that I can’t quite grasp in that answer but there’s also something there, and I guess I’ll probably keep running towards the thing that I uncovered in this experimentation until I learn how to put to words what it is.

Non-Representational Theory (and failing better)

This photo engages both with representational and non-representational theory. If I was to consider this image in representational terms it is simply a blurry photo of someone’s silhouette walking along the beach. But it is non-representational terms where the image really shines. In fact I would argue that the non-representational reading of this image attacks the suggestion in Phillip Vannini’s Non-Representational Research Methodologies Introduction, that non-representational work is “boosting aliveness” (Vannini, 2015, p. 6). My reading would predicate on feelings of deathless, veil between worlds, getting stolen away at the witching hour, seeing something in the corner of your eye and then it being gone, loneliness, haunting, lapping, fear, not belonging, and a whole host of other seminal moments between fears and dreams. Though this is just my reading and as non-representational theory suggests the idea would be to refuse any one reading or understanding of a text.

For me where it touches non-representational theory most is that it riots against the idea that photography needs to produce the ‘real’. This photo as a non-representational reading is more about what is not there than what is.

And of course I think we should all consider the possibility that I may have read the theory wrong. I’ll be honest my mind boggled around this one. A theory that seemed to reject that notion that it could be analysed or sit comfortably in any status quo, makes it hard to look at a work and consider with any certainty how it fits into the theory.

Though I will say that what stood out to me most from the reading was the suggestion that “in the end our job as non-representationalists is simply to fail better” (Vannini, 2015, p. 7). I’ll take that in stride because I have really almost no clue what is going on here. So I’m just going to steamroll ahead with a restlessness and disenchantment with reality and acceptance of what is in front of me, and if I fail spectacularly then I’ll have achieved something too.

references: Vannini, P 2015, Non-Representational Research Methodologies, Taylor and Francis Group, pp. 1-18

Expectations (or lack there of)

I’ve been putting off this particular blog post for the whole week. We got asked to write about our expectations for the course. To be really honest I didn’t have any. I had little to no idea what I would be getting myself into when I signed up other then that I was sure I would be launching myself far, far out of my comfort zone and because that scares me, it’s always a good thing.

Anyway it’s two am, I’m currently nocturnal, and desperately unfiltered trying to live a life doing every crazy thing that pops into my head, which might be why I took this course. To take a small detour, we hark back to the reason that I even started uni in the first place. To push myself, to learn things that I didn’t already know how to do. In my course we got offered three studio options and if I’m being honest I didn’t really feel like I had anything to gain from doing the other two. They were skills that either I already intimately understood, or didn’t feel were relevant to my creative expansion. Soft Choreography however promised me two things. Number one; it would be about video making, a medium which I love but desperately need to improve and expand my skills in. Number two; the rules would be broad. Exploring concepts which evoked feelings and gaps and things that could not be defined seemed right up my alley way as someone who likes to think so radically outside the box, the box is being held back at customs or something. That metaphor landed wrong, but the point is me and the box are mortal enemies.

So even one week in I really don’t have any expectations of the course. And I think that’s a good thing. It allows me to approach every challenge with no predetermined outcome, it allows me to not fail expectations I prematurely set up, it allows me to grow with no limit. So I’m going to continue having no expectations. Going in I’m going to endeavour to in Neil Gaiman’s words “make good art”, I’m going to continue feuding with the box, I’m going to make blog post reflections on this incredibly messy blog that looks like twelve year old me themed it but brings me great joy. And hopefully, maybe somewhere along the way I will also learn something.

references: Neil Gaiman 2012 Commencement Speech “Make Good Art” 2012, streaming video, Lennie Ann Alzate, Philadelphia, viewed 28 July 2020, https://www.youtube.com/watch?v=plWexCID-kA

Soft Choreography – Wk1 Reflection

The essence of what we talked about in soft choreography this week seems to be the relationship a work has with an audience. Therefore as an artist when we create a work we have to ask, ‘what is our responsibility to the audience’? But to further this, what does an audience have a responsibility to bring to the work? And further to that could we consider that every work is only ever half finished before it reaches an audience?

Everyone creates art for a slightly different reason, most of us aspire to have our art be consumed, whether just by friends and family, or by the greater public as we try to make a living from it.

This week we were asked to make a video based on a poem fragment. I immediately identified with the concept of longing in the fragment and sought to create my video based on the feeling that I understood the poem as. But then came the question, how do I do that and still leave room for the audience to be able to shape the work as well? This week that was the most difficult part. Was the video I made expressing my art, while at the same time allowing the audience to be the true creators of the meaning in it?

I knew I wanted to time-lapse a sunset almost immediately. Being locked down in a tiny apartment I knew that I would have to be creative filming anything. Luckily I have an amazing city view. I grappled for a while with just recording myself speaking the lines of the poem over the top, and then let the viewer draw whatever conclusion they wished about what my video was trying to say, and in drawing that conclusion they would be completing their half of my soft choreography artist bargain. I provided the work, they provided the meaning. Just like the poem, which could have so many different meanings that it was up to the reader to decide what it meant to them.

Taking the 30 second time-lapse took just over an hour. I took my notebook out and sat with the sunset, contemplating over the concept of longing, the different ways one can long, and what I thought the essence of the poem was as that was really what I wanted to come across in the video. In the end I had lots of questions, and a bit of poetry.

In editing I still hadn’t decided what audio I wanted to use for the video. I looked at my notes that I had made and decided that I wanted to use my own words to see if I could create the same essence, the same ache that the poem fragment had provided me, to someone else. It would be in that essence that the viewer provided their meaning, worked out what my video was trying to say, completed my thought. The video would be questions and the audience would have to find their own answers. To me that is part of what soft choreography means, conveying feeling and thought and meaning without explicity.

Ingvartsen talks about soft choreography as “[the desire to] arrange conditions for encounters to occur” (Ingvartsen, 2013, para. 4). I’m not really sure what I’ve accomplished with this video, if it does any of the things I want it to do, I’m still toeing the edge of whether it’s even right for the task. But my hope is, when it is watched, it will stir something in the viewer, I don’t know what that is, and it will be different for everyone, but it will be an encounter with a feeling. Hopefully an encounter with the viewers own personal sense of longing, maybe even a memory tied to it. If it does that, then that’s enough.

 

references: Mette Ingvartsen 2013, 69 Positions – Soft Choreography, Mette Ingvartsen, blog post, viewed 23 July 2020, http://www.metteingvartsen.net/texts_interviews/soft-choreography/