jes tyrrell studio gateway

process, experimentation, documentation, practice-led research, transdisciplinarity

[jestyrrell-adad2016]

MCA Visit

We will collectively conduct a gallery tour of Primavera where small groups will each lead discussion of a specific artwork. Discuss the work in groups and prepare some talking points and questions to share with the rest of the class:

Discussion questions:

What processes, materials and concepts is the artist working with? What responses does the work evoke for you, what affects did you each experience? What does it remind you of? Can you connect the work with other things you’ve seen or concepts discussed in the course? How do the works speak to - or disrupt - one another and how has the curator organised the space to amplify these associations? 

Do some research on the work usIng the MCA learning resources: How has the curator, Emily Cormack, contextualised the work in relation to the concept of ‘transmission’? Can you find out anything more about the artist’s practice? How does the piece they have created for Primavera relate to their ongoing practice?

Practical task:

Individually experiment with documenting the work in a way that exaggerates or explores the affects the piece provokes in your body. 

Image: Biljana Jancic A Beach (Beneath) 2016, installation view, Primavera 2016: Young Australian Artists, Museum of Contemporary Art Australia, Sydney, 2016, silver tape, projections, image courtesy and © the artist, photograph: Christopher Snee.

[new-aesthetic]

Harriet Salem on Twitter: “The 21st century. A place where we live stream war while Facebook prompts us to ‘react’ with an emoticon. #Mosul”

Al Jazeera Live from Mosul

[jestyrrell-adad2016]

Now...

[jestyrrell-adad2016]

Reflection and practice-led research

In this article, The Known World, Ross Gibson discusses the way creative researchers oscillate between immersion in their practice (through experimentation) and critical reflection on the discoveries they have made. It is in this back-and-forth between experimentation and reflection that the artist-researcher produces knowledge.

This reflection can happen in different ways - it might be that ‘aha moment’ in the studio when you realise something has clicked with your work and you understand a concept, material, technique or a process in a new and deeper way. Or this reflection might happen when you have some critical distance from your work and you engage in a more systematic process of synthesising and consolidating what you’ve learned by writing or speaking about your practice - for example when you develop a concept statement or present your work to your peers.

As Gibson says:

Acknowledgement—the shift in knowledge—is instigated when the researching artist conducts a productive and purposeful experiment. Etymologically, to experiment and to experience are closely related. (Indeed the French noun for ‘experiment’ is ‘expérience’.) The experimenter goes consciously and interrogatively into and then out of an experience, knowing it somewhat by immersion and then somewhat by exertion and reflection. 

This reflection, in-turn, feeds back into your creative process as you undertake further experimentation. All the while your contextual research is informing your experimentation and reflection in a dynamic and interrelated way. 

I like to think about the relationship between experimentation, contextual research and reflection in practice-led research as a Venn diagram (imagine all the circles are the same size!):

[jestyrrell-adad2016]

Assessment 3 Submission

Hi all, here are some notes on the procedure for submitting your group’s publication:

Upload through Moodle in the “Assignment 3” link just under the Course Outline. 

Please ensure everyone in your group has their full names included on the document.

Please use the following naming convention for the file name: Tutorname_Groupname_Student'sLastName.pdf (eg. Tyrrell_NOW_Philips.pdf)

Only one student per group needs to upload the final document. 

Max file size 200 mb

[gausspdf]

GPDF062 : Angela Genusa : Tender Buttons

Angela Genusa

Tender Buttons

2013

“(Noise) makes possible the creation of a new order on another level of organization, of a new code in another network.” — Jacques Attali

  PDF

[jestyrrell-adad2016]

There’s a small window of time after opening the file for Angela Genusa’s TENDER BUTTONS (Gauss PDF, 2013) in which you haven’t quite figured out for yourself whether the material you’re looking at is some glitchy, corrupted version of the document or the poetry collection itself. The pages of cryptological glyphs and elaborate algebraic equations are immediately intrusive and alarming, hardly what you’d be expecting from a book of poetry unless you were already familiar with Genusa’s or Gauss PDF’s previous work. Confronting the difficulty of something so foreign and intensely conceptual (and how you’re going to try to make sense of it), then, becomes the requisite first step in addressing some of the further complexities of conceptual poetry as a whole, and this title specifically.

Z██2Sƒ│ÅícG╪»O«ÜσÖï─#”ê*D*”üê└;.

ì╡*¡;+v▄*ä╗ôΘÄß(ªäILq(Zvo*│*û│#├Æí!r**±Xl¬┘¢;*k╖à│*6.å0╛**╦R┐.üΓ**ê*D

*”**üê@Dα¡F ≥⌡╖║z^{µ╝g*╪»*&1┬ç3ÉcPΣ±░T-;Wpz-√b NAå⌡╟W O█ùóPv%δ

[...]

Ultimately, I want more of this, more art that asks me to reassess something as fundamental as how to consume it. As I’ve heard Stanley Plumly say more times than I can count: there is nothing new in the world but the form. I’ve also been told that the job of the poet now is to figure out what a poem is now—and that a good way to find out what a poem is doing now is to figure out what it is giving up. 

via

[vaughanoconnor1002]

A example of a really slick publication is The Gourmand.

Particularly seductive is the editorial photography style, well worth a look, especially if you’re interested in the crossovers between Art, Design and Food.

[jestyrrell-adad2016]

Ryoji Ikeda - Data.Matrix - Live at Sonár 2010

[jestyrrell-adad2016]

Harley Ives, Lake Liddell, 2014, Approx 3min seamless video loop

Ives’ work locates painterly qualities in the moving image through arranging the artefacts of analogue video processes. 

[jestyrrell-adad2016]

Tutorial on ‘datamoshing’ if you’d like to learn how to make a Kanye West video.

[jestyrrell-adad2016]

...the anticipation conjures its object.

Judith Butler, Gender Trouble, 1999, XV

[jestyrrell-adad2016]

...just as we perceive things where they are present, in space, we remember where they have passed, in time, and we go out of ourselves just as much in each case. Memory is not in us; it is we who move in a Being-memory, a world-memory. In short, the past appears as the most general form of an already-there, a pre-existence in general, which our recollections presuppose, even our first recollection if there was one, and which our perceptions, even the first, make use of. From this point of view the present itself exists only as an infinitely contracted past which is constituted at the extreme point of the already-there. The present would not pass on without this condition. It would not pass on if it was not the most contracted degree of the past. In fact it is striking that the successive is not the past but the present which is passing.

Deleuze, Cinema II: The Time-Image, p.98

[jestyrrell-adad2016]

‘I am young and old. Only my life, its time or its duration, can make these two propositions coherent between themselves.

Serres and Latour, Conversations on Science, Culture, and Time, p.49.

[fifi-chan-1998]

The experiment about the assessment3 - 1

After the first group meeting, we got some interesting and related idea about the toopic ”now”. One of them is like recording the same moment about one thing in the different areas. Therefore, i sent the massage to my friends and asked them to send me a photo of the sky at that moment. 

Then, i received more than 100 photos about the sky come from different areas around the world! Due to the reasons like time zones, seasons and weather, that is so suprise to see that how different the sky we own at the same time! One of the friend told me that the typhoon is coming in the city she lived. So, the sky shown in the tones like orange and red. Some of my friends study in the northern part of China and face the environmental problem like haze and sandstorms. Therefore, the sky all in the white colour and even could not see a little bit of blue. When these image of sky be stitching together, it will show a wonderful picture to the audience.

[jestyrrell-adad2016]

Beautiful experiment! @fifi-chan-1998 I wish this was higher resolution so we could see the individual images more clearly. 

Reminds me a little of this work: http://www.penelopeumbrico.net/Suns/Suns_Index.html

Also check out: https://christchurchartgallery.org.nz/bulletin/181/patrick-pound-gathering-thoughts-through-things

and https://www.gerhard-richter.com/en/art/atlas

[vickybrowne10022018]

How To Create An Interactive PDF In Indesign - Indesign CC Tutorial

In this tutorial I show you how to create an interactive PDF within Adobe Indesign CC. An interactive PDF is one that can be interacted with by the user. The...

[jestyrrell-adad2016]

Thanks Vicky!

[annas2016studiogateway]

Hydraulic Press Crushing Things Compilation #3

All credit goes to the Hydraulic Press Channel on YouTube Their channel: https://www.youtube.com/channel/UCcMDMoNu66_1Hwi5-MeiQgw Thanks for watching and sub...

I don’t know how to relate this to this week topic or nowness… but thi youtube channel is great!

[jestyrrell-adad2016]

We’re vibing on this hardcore in class atm @annas2016studiogateway

[jestyrrell-adad2016]

Information about the Artists' Books collection of the State Library of Queensland, the largest publicly available collection of artists' books in Australia.

[jestyrrell-adad2016]

I wanted to include some imagery from one of my favourite zine-makers Vanessa Berry for Assessment 3 inspiration. Check out her amazing website for more details on her zines and the source/credits for these images: https://vanessaberryworld.wordpress.com/