This week I made a study plan for my last term of the Masters course, I included a revised, realistic outcome for the project, a colour-coded timetable for the next 15 weeks and began to look for ways to progress my career from this course fulfilling LO04 of this unit.
Study Plan:
This unit I will complete my thesis. I have so far explored three of the six fields of haunting, I will investigate the latter three in this unit, as the structure that it has provided has been successful so far. Namely, the two haunting fields of experience, Psychogenic haunting and responsive haunting, and the haunting field of time: incongruous haunting. The consistent reference to my practical research in respect to each section has helped to ground my focus, draw conclusive findings and provide compartmentalised space for the research to be contextualised by and inform all aspects of the research.
I will begin this unit by refining my writing on acousmatic haunting, further exploring the ways that my research practice can inform this field of haunting
To continue my practical research, I will email Violet to ask when I might be able to exhibit there once more. I want to reflect more on the format of the previous exhibition and how it might better accommodate visitors.
I will also keep developing the sound composition I have, though I feel it is in a good place currently, it could be refined further. I do want to exhibit the work to reveal its practical use, although there has been recent evidence of its usage in the fine art world with Dumb Type’s recent work for the Venice Biennale of 2022, even if it was not used there for the haunting purpose of institutional critique.
I also want to develop and refine my research journal, I am waiting to hear back from my submission for last unit so I can see what was and wasn’t successful on my research blog, but I want to populate further the various sections that I created last unit.
To fulfil one of the learning objectives of this unit, I will be looking for opportunities to develop my research. Identifying and making informed judgements to progress my career as a researcher. I have, in our first unit, applied for A PhD at the university of Greenwich for a funded research project that continued the work I am currently working on, and though I was not accepted it was beneficial to me to practice the application process for PhD study. This is the type of opportunity that I will be searching for this unit too, and I am currently looking into PhD programs on Art history and visual culture as there seems to be more opportunities for scholarships in this field.
Another Idea I had, was to work for the arts university Bournemouth next year as a Graduate Intern role. This would help me progress in my career goal of working of being a university lecturer.
Career Progression:
Graduate In residence: This is a fantastic opportunit
y which I had applied for last year, but decided to do the MRes Arts course instead. I have emailed Richard Waring and Lily Robinson about applying for the position and have received replies saying that I would still be eligible for the role and that the application for the position will be available on the University's recruitment website 'shortly'. This would be excellent as it is a role working for the university and I would be able to continue my research practice with the university resources in my spare time.
Postgraduate and PhD courses: I am also looking through lots of courses for PhD and postgraduate programs, especially looking for ones that are similar to the one at Greenwich university which I applied for over Christmas break. However there is a lot of courses out there and I am finding it hard to find opportunities that will also help financially
- I am currently looking into PhD programs on Art history and Visual culture as there seems to be more courses and opportunities within the field and I hope that my interrogation of visual and aural culture in my current masters project will display an academic interest in the field.
Lots of these courses on visual culture and their corresponding scholarships closed in early february almost six months ago, so perhaps It would be better to find the ideal course and apply to that one next January, finding something else to do this coming September such as the Graduate in Residence position.
Here are some of those aforementioned closed cours
es and scholarships, which I would have to apply for next January:
-Manchester University:
- Goldsmiths:
- Doctoral loan:
- Visual Culture and cultural studies at west minister:
- Fine Art doctorate of Philosphy at University of Leeds:
(this one gives examples of approriate areas of study, including: Psychoanalysis and aesthetics & Social histories of art & Sound, voice and technology.)
Dumb type:
Representing Japan in this year's Venice Biennale is art collective Dumb type which is a Japanese art collective primarily focussed on installations.
This work is described by Dumb type as four mirrors which rotate hastily, projecting directed lasers onto the surrounding walls.
- The use of multiple mirrors allows this projection to truly and fully bisect the space even behind the cover of walls and obstructions.
The work projects text samples from a geographical textbook from the 50s, posing to the audience simple questions about our world such as: How many oceans are there? and 'Where, then, is the Atlantic ocean?'
- This is the context of the work, and is not directly appropriate to the investigations of my research project, however, as before in other artist studies what will be examined is the methods of installation and reflections on those faculties.
The sound of voices reading out such extracts from the text are projected into the room via similarly rotating parametric speakers, becoming highly directive beams that travel about the room.
- This statement here that describes the sound beams as if travelling about the room, affirms my thesis' argument that sound moves through space in a timely manner that is relational to an audience.
"In contrast to the discourses that surround it, the centre of the room is an empty space...
- This reflection here is the most important aspect of the work to my research. Beginning the sentence with 'in contrast to the discourses that surround it...' immediately marks this commentary as separate from the confronted meaning of the work.
[THE THICKENING]
- Next, the focus is shifted to the empty space between the walls. Which is a dimension which 3D art does bring into conversation, but here with the 'projective quality of the work, the space is interacted with by the audience that moves through the space. Realising their own movement throughout the space that is thickened with projective information with a certain haptic feedback - shadows on the wall, entering beams of sound. Through the duplicity of the projective bodies, is the space 'thickened'. I want to use this term of thickening space as a means to experience architectural volume by a purposeful sculpting of the experience of that volume. There is a haunting quality to the thickening of space that is revealed in projective technologies in a new way. Other examples might include smoke or Pierre Huyghe's flies as means of adding a sensory texture to space.
...—a place that exists nowhere, but at the same time a place that could be anywhere. We live in a time of post truth and liminal spaces. The centre is void."
- This attitude of nowhere and anywhere is reminiscent of O'Doherty's reflections of the white cube. Which highlights the significance, that this work was exhibited in a white cube format. Though perhaps somewhat different in the dimming of the lights. It is interesting however, that the centre is void specifically. I wonder if this vignetting of void and 'discourse' is intentional. The quotes projected on the wall about oceans reflect Cage's quote that the white walls are like oceans of space, drawing attention back to the white cube aesthetic. Perhaps the separation of 'space and discourse' aims to highlight the presence of the void even when the walls are covered or when the lights are off. This could then be suggesting, especially with the mention of liminal spaces, that this void is consistently present in art institutions that separate art from the greater context of the world.
- What has been most puzzling to me is the label of post truth and its importance to this conversation. It can be defined as the circumstances to which personal beliefs are more important to shaping public opinion than objective truths. My feeling is that this is again dealing with the 'discourse' of the work and is not important, however i will reflect more on this as i continue my research, asking myself why the post-truth could be important.
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