the line (assignment 5): revisions

Following the tutor feedback and final revision discussion, this is the final version of the line: presented as a three-page tumblr website, holding 35 video clips plus a menu which has a short instruction plus five menu items (two statements; a methodology collection of video clips, and a reference list, and the standard archive tab).

Assignment 5 is only marginally altered: one clip is shortened, four clips reprocessed and uploaded through tumblr and not Vimeo. Here, the tutor feedback seemed to want to remove one of the key concepts (besides the digital/analog moving of gossip, anecdote) of desires, movement, transgression and their darker undercurrents; and I chose to hold onto the abundance and overwhelm that marks this concept.

https://the———————–line.tumblr.com/

 

Der Grund (Assignment 2), final version

This project took a few rounds of revisions. Notably: an old photo album wasn’t working (too cliched), the plan to produce a purpose-made concertina 6×4 album did not feel right either (too large, too common).

In the process, I also kept resequencing the work until I had a version, with ‘chapter breaks’ that worked. The dummy of 5x6cm images (printed on a single A4 sheet) revealed an unexpected degree of perfection in the small-scale, hand-held format. I proceeded to test two giclee papers (photo mat and Hahnemuehle Rag), both about 300gsm weight, the latter an open-structured paper. Producing the folds on the latter is just possible, it creates breaks and an open structure that fit with the theme, the size remained perfect.

I tested a variety of covers, and settled on a reverse inkjet print on a thin vintage (1950s) tracing paper, pasted on, which means the writing sits ’embedded’ in the paper structure, the closing mechanism is a simple elastic:

IMG_2915

A video of the final sequence is here:

Assignment Six: pre-assessment review

On 7 Sep 2017, at 12:56, Gesa Helms <g.helms@posteo.net> wrote:

Dear Jesse,

— this email outlines and points to the relevant blog posts concerning the revisions for the previous assignments and thus concludes the module.
I am cc’ing OCA Enquiries (as per your suggestions) into this as confirmation of having concluded the module within the timeframe.

The main changes to discuss in our tutorial concern A1 – Office at Night and A2 – Der Grund.

For A3, the essay I will present a version reworked on the basis of our discussion, notably writing through the final section which is currently only presented in bullet point form (due to the word limit).

For A4/5, please see the discussion on the previous tutorial as to technical and presentational revisions (mainly: moving to a dedicated site which allows fuller control over uploaded videos; but also considering to edit the selections of videos down.).

For A1 I have written (and now updated) a blog post which details a further iteration of the original participatory methodology of the project and now includes a repositioning of the initial prints in the participants workspace (i.e. a take on the manual collage). Please see post here: https://digitalimageandculturegh.wordpress.com/2017/07/31/office-at-night-2-material-and-possibly-outcomes-a1-office-at-night-revisions/

For A2 I took a series of additional photographs, following our tutorial and have re-edited the set of images and intend to realise it as an actual print album (as family album) rather than an online format. Please see post here: https://digitalimageandculturegh.wordpress.com/2017/09/05/der-grund-2-revisions-to-assignment-2/

For our final Skype tutorial, Wednesday 27 or Thursday 28 are good for me (I will be in Germany), please pick a date and time that is best for you? I look forward to the final tutorial and many thanks for all your support during this course!

All best,
Gesa

Conclusions

Dear Jesse,

— this email outlines and points to the relevant blog posts concerning the revisions for the previous assignments and thus concludes the module.
I am cc’ing OCA Enquiries (as per your suggestions) into this as confirmation of having concluded the module within the timeframe.

The main changes to discuss in our tutorial concern A1 – Office at Night and A2 – Der Grund.

For A3, the essay I will present a version reworked on the basis of our discussion, notably writing through the final section which is currently only presented in bullet point form (due to the word limit).

For A4/5, please see the discussion on the previous tutorial as to technical and presentational revisions (mainly: moving to a dedicated site which allows fuller control over uploaded videos; but also considering to edit the selections of videos down.).

For A1 I have written (and now updated) a blog post which details a further iteration of the original participatory methodology of the project and now includes a repositioning of the initial prints in the participants workspace (i.e. a take on the manual collage). Please see post here: https://digitalimageandculturegh.wordpress.com/2017/07/31/office-at-night-2-material-and-possibly-outcomes-a1-office-at-night-revisions/

For A2 I took a series of additional photographs, following our tutorial and have re-edited the set of images and intend to realise it as an actual print album (as family album) rather than an online format. Please see post here: https://digitalimageandculturegh.wordpress.com/2017/09/05/der-grund-2-revisions-to-assignment-2/

 

All best,
Gesa

Der Grund (2) : revisions to Assignment 2

I had taken a series of additional photographs for this assignment back in Spring, mainly following the tutor advice on including other people, different locations; so, much of the revision then focused on different grounds, perspectives but also doing a series of photographs with me and my father (my father being the son of the photographer of the initial set of photographs that inspired this project).

There are two main proposed changes:

  1. the photographs and their sequencing
  2. the material outcome

 

The photographs and their sequencing

The initial project was realised as an online flipbook, here.

Early on I marked the following as changes: if in book form as it:

  • remove: spread 12-13, 14-15, 26-27.
  • retake: 25 (colour cast can’t be post-processed); also on bed!
    >> don’t want to retake it; reducing saturation (-30) works quite well.

<< this responds to the tutor advice of it being too repetitive and laboured in its current form.

Looking through the sequence again, I am even tempted to remove than the initially marked spreads.

The photographs I chose to take in addition are the following:

… I will need to print these and then work on the sequencing with the earlier photographs (both archival and those that I took)

The material outcome

Initially I was keen on having a luminous, back-lit outcome for this, hence the online flipbook. But looking back at it, that preference was mainly my own rather than one grounded in this actual project. For the final resolution of the project I have settled on an actual album, either just a small 6×4 album, or, more likely a slightly larger album which allows for utilising the negative space on the page to reposition some of the historical images with current ones.

I am currently experimenting with a simple shop-bought album for this (which in its ordinariness seems fitting, rather than a handbound one).

 

 

Office at Night (2) : material and possibly outcomes [A1 / office at night revisions]

This post updates on the revisions of Assignment 1: Office at Night.

[UPDATED 8 September 2017 with decision on final form, see end of this post]

I now concluded the second round of image making for the Office at Night.

The first one consisted of meeting a colleague in her office, us jointly taking images while discussing a series of questions over office, work, night, desire. I then developed the images (made on iphone and Minox 35 mm film camera) to form both the manual and digital montages of assignment 1.

The final submission of the assignment is here; the tutor report for it here.

In my first submission I was deliberate as to the provisional status of the images: while impermanence was a deliberate aspect of the manual montages, which were just temporarily arranged in my notebook, while working in the coffee shop, it nonetheless wasn’t a formal resolution for this assignment yet.

During the first part of the course I also experimented with my own bedroom/office as a workspace that exceeds its boundaries. These images formed project Project 1_2: through a digital lens.

The main point of critique of the tutor report concerned the aesthetic qualities of the images: they did not engage, arrest, invite to concern oneself more with them:

You practice is very well informed, contextually, but to be honest, I don’t find that the formal outcome of either these approaches actually have aesthetic qualities that match their intellectual underpinning. Forgive me if this sounds trite or pedestrian, but my view is that artwork – in all forms – is presented to be engaged with, and it needs to be aesthetically enticing to do so effectively. I think this is particularly the case with your ‘manual montages’ – I think one needs to always ask the frank question, of whether anyone else is actually going to want to engage with a piece of one’s work.

— as they originated in a fleeting process and formed a documented record, I didn’t mind this criticism too much and found it fair. It also, over the following 18 months led to much investigation, reflection as to what I consider the underpinnings of my artistic practice, what role what kind of aesthetic plays in this and how to work towards resolutions that address both the the conceptual concerns and a visual realisations that matches these.

My immediate line of thought for this was three-fold:

a. to produce a series of considered still set up far more formally, possibly photographed on film again (and pursuing a few months later the acquisition of a medium-format camera) to allow for a -reembedding back into a slowed down, quietened context.

b. to investigate whether the stills and montages could themselves become part of my main working process, i.e. become the material that constitutes (or: re-constitutes) a notebook. I conducted a series of first printing experiments in disassembled journals to see if this was feasible, but stopped at this point.

c. to engage my interview partner in examining and rearranging the earlier images together to then document this second part in photography again.

In Summer 2016 I sent a single-use camera to another colleague and invited her to document, (inspired by the short set of pointers that I already used for the first conversation) to record anything around the theme, while I would do something similar for my own office at night, again also on a 35mm camera (though not single use but with fairly high-quality lens and a 3200 ISO film).

We then met again (10 months later), in her office/ bedroom and looked at the images, talked about the process, any themes arising while setting up over the course of a couple of hours and with a tripod and the medium-format camera (Kodak Ektar 100, i.e. saturated slow film) a series of stills, some of these featuring ourselves also. I choose to work with available light for this and fairly slow shutter speeds to make use of the narrow DoF of the camera.

On the basis of this second process, I can now envisage a series of revisions for the initial assignment:

  1. the submission of a single A3 print that consists of the diptych in my own bedroom/ office at night1_2 My office triptych.jpg
  2.  a series of images that are referencing the different offices, in which this project has been located:
    Office at Night Angela single1_2 My office triptychDIC_A1_montage1-2Office at Night Angela Diptych 1Office at Night Angela Diptych 2
    2017_08_062017_09_022017_09_032017_09_08— the main question for this approach: single images? combined images for Office at Night (A), and my own office, plus the single digital montage for the original Office at Night (H)?
  3. an artist book in the form of a reassembled notebook, with some printed pages, some text, empty pages and a set of the original source images to invite the viewer/reader to perform their own manual montages in this? [no marquette of this yet, but will reinsert this]
    — what role do the more formal montages play in this notebook? e.g., do they form a cover or back image, are they included as a print also?
    — is there a book per office? i.e. like a potential series?
    — is there scope to turn this into multiples? [e.g. by photocopying, inkjet printing, risograph or indeed screenprinting?This is the type of notebook I use, it is stitched and I in the past already disassembled them and rebound in different forms. It is slightly too large for the pages to go through my inkjet printer but the thinness of the paper is as such not a problem for the printer.
    It also contains a pouch in the back, which could easily take a series of 6×4 prints.IMG_20170731_123912.jpg

 

Final decision on format

Following further discussion and reflection, I arrived at the decision to print single images, fairly large (such as 10×10, or above; though 10×10 is possibly the print size limit for assessment submission – which I will need to check). These will be the following six images:

[I need to upload the current diptych as two single images]