Jane McGrath 6th August 2009
Today was very interesting for me as Gordon Brand was here and working very closely with Tina to develop the other screens that will be used. I was interested in understanding the research that Tina has already done in relation to what size head participants more easily relate to, where they stand in relation to the size of the projected head and how the face reading technology works and its limitations. This concept of space between the work and the partcipant and the technology is it seems fundamental ito the work, and for me the space bewteen technology, particpant and the object is something I want to explore with chairs. Today Gordon and Tina were also looking at the space between layers.
Using layers had a really amazing effect on the image and how it was perceived, the face of the person seemed to be partially hidden under a steamy gauze as if the emotions were repressed and fighting to get through – and it took the work into another dimension that was exciting to see develop. It was also interesting to experience trying to read the emotions through the layers which I think is how we have to read emotions of people around us.
Jane McGrath 5th August 2009
So in light of my dissertation question I have naturally been thinking about spaces of liminality within the Chameleon project. This was proving difficult at home as I had seeemingly lost the memory of the experience of taking part. It was only coming down on the train today that for some reason it all came flooding back – I was very glad that I took the time to take part in the filming process during Tina’s March residency as being able to relate to the experience of the user is important.
To begin I think that when actively involved in research, an artist is often existing in a liminal state . During this residency Tina is both participating in the process of research by way of collecting data and by way of the process of collaborative construction, she is at the same time observing the process. She is, I think both artist , researcher , collaborator and project manager and exists in a space of constant flux moving between thresholds whilst existing in the spaces inbetween. In these roles the artist can consider her self both in relation to others as well as to her positioning in relation to the research material. I am wondering whether it is by way of the unique ( quiet/still ?) space of just being that exists between all of these roles and functions, the space when she does not function in any mediated role – when there is a kind of temporal disruption – the pregnant pause before – where new and unimagined ideas, perspectives and solutions are born?
What really fascinates me about liminal spaces is the potential for unimagined change, the potential to disrupt power relations, change perspective.
“Betwixt and Between, the “realm of pure possibility” and structural invisibility. ” (Victor Turner on Liminality)
So I am excited by learning how to construct spaces that are experiential, emotionally and intellectually – exploring emotions that have the potential to make you think. Those moments when pennies drop, the “oh I see’ ‘ the internal wow” Moments that empower and potentially change your life – you may come out changed.
Constructing Empowerment.
Jane McGrath 5th August 2009
So I had a good think on the train down from London, trying to locate what it is about Tina’s work that fascinates me and how I see this as potentially relevant to both my practice and my MA dissertation. The question I am currently thinking about is;
“What kinds of liminal spaces have been developed by recent developments in digital technology, and how might they be used by artists exploring concepts of power and powerlessness? How can these sites create a dynamic shift from powerlessness to ‘power to’ for those who inhabit or pass through them?”
I was at first a little surprised and disappointed that Tina did not consider her self to be a “bio digital artist” , well in truth she said that she hadn’t actually thought about it and that she sees her self more as a “physio-psychological ‘ or ‘psycho- physiological’ artist. ( oops – I cant remember which way round!)
In retrospect however, I think it was only since recently attending the ‘Biodigital Lives’ Conference at Sussex University and listening to the discussions that the word jumped into my own vocabulary – I had simply presumed that the term ‘bio digital’ was in wide use ie artists working with (bio – study of life) and digital would thus be considered bio-digital. It seems to be a term that is not used much. So I am now asking my self – what is bio-digital – how would I define it – does it have a definite set of boundaries and conditions… these questions I clearly need to explore. What artists might consider them selves bio digital?
I asked sereena to extend the shoot – as i am thinking for the pixy screen we need to concentrate a bit more on gesture. She looked relieved – I asked her to move as she spoke, feel free to move her arms and use the space around her. She said that it felt more natural – she doesn’t like stillness. It was strange to direct the shoot with more space – and not just concentrate on the face – we only shot this for half an hour – its just an experimentation – we will see if we can extend it – if it works. We are hoping we can start seeing video today…will be interesting – maybe we can flip between closeness and distance? I will look at all the edit points.
I need to shoot one more person with distance and gesture – I am not sure who but will think about it today. I have another shoot tonight, so maybe we can extend it there.
The first screen is up. Not working, but its hanging. It feels exciting.
I shot last night till about 10.30 pm or so – Sereena first and then Amy. I had shot them the last time I was in brighton – so last night was my third shoot with them – but just wanted to spend some more time with them. I had re-looked at the footage I had, and felt there was some more areas to expand on. More silence, and a little bot more speaking. Each shoot went for about an hour and a half. It was a great shoot –
Each one I am beginning to know a lot better – a lot is shared and i am feeling more comfortable directing them. We talked about the stories they last shared – what had happened in between. A lot had happened in six weeks. Both were a lot more comfortable and really happy. It was hard to find any sadness last night. It must have been summer, because the feeling was up-beat – much more up-beat than it was in June. They are understanding the process better as well. With Amy, for sadness – I left the room for about five minutes. It felt like that might have been easier for her and she mentioned it was. It will be interesting to digitize the footage today. Interestingly, Amy – who was really still last time, had a lot more movement – naturally as she spoke – she began speaking with her arms and really direct body movements. She didn’t do that in the last shoot. It was amazing to see a different side of her revealed. She actually moves really well – but she had no idea she was moving.
We laughed a lot last night. At one stage with sereena found myself talking a lot more than her. Just stories of past – it was really enjoyable. At one point we thought she should have been on the other side of the camera. It such an interesting process. Exhaustive, but incredible to be able to spend time with these people and get to know them. Having the freedom to ask questions and the space to listen. To really listen. Its rare. Ron told me the other night that he had shared more over an hour an half than he had done with anyone for a long while. It was a privilege. The stories of these peoples lives are amazing. So many different ways to live, so many stories, so much hurt, death, scares, dramas, happiness. Its wonderful.
Sadness was hard to find last night. I wonder why… Sereena was so vibrant – its like she is bursting with an intense interest in life. Amy was a lot happier.
