{"id":2148,"date":"2013-03-14T10:42:06","date_gmt":"2013-03-14T10:42:06","guid":{"rendered":"https:\/\/coral.ncvp.net\/echo\/?page_id=2148"},"modified":"2022-09-09T13:46:29","modified_gmt":"2022-09-09T13:46:29","slug":"research","status":"publish","type":"page","link":"https:\/\/coral.ncvp.net\/echo\/about\/research\/","title":{"rendered":"Academic Research"},"content":{"rendered":"

The idea of making Echo\u00a0<\/strong>as a piece of Research emerged from the\u00a0development of Practice as Research in the Arts as a discipline. \u00a0 This was fostered by the\u00a0AHRC Research Review in\u00a0<\/span>Practice-Led Research in Art, Design and Architecture (2007).<\/p>\n

Practice-Led_Review_Nov07<\/a><\/p>\n

This led to the foundation of Parip (Practice as Research in Performance) – see\u00a0here<\/a>\u00a0– a five year programme from 2001 – 2005, which inspired\u00a0a range of further initiatives, including the development of PhD’s in practice as research, and in particular, the AVPhD (Audio Visual PhD). \u00a0\u00a0In May \u00a0\u00a02008,\u00a0I organised the Research Connections to Practice AVPhD (Audio Visual PhD) Regional Workshop, for South Wales and the West of England\u00a0In 2003, \u00a0 This helped me consider\u00a0Echo\u00a0<\/strong>as a piece of research, which had to be more than just a piece of film practice, but needed to claim a “contribution to knowledge” and to be situated within a research context with research objectives. \u00a0Whilst the installation and the website which documents the process can be seen as the results of the research, the following is a summary of research objectives made in response to the call for papers from the Journal of Media Practice in 2009:-<\/p>\n

1 Key research aims or questions<\/strong><\/p>\n

\u2022 What happens to film drama when it is presented in a gallery?<\/span>
\n\u2022 What is the relationship between narrative, interactivity, sound and image?
\n\u2022 How can issues of performativity be dramatised through the story of Echo and Narcissus?<\/p>\n

2 Methods, including significant relations such as those between form, idea, and technologies.<\/strong><\/p>\n

\u2022 Performative, iterative practice in film-making, including dramaturgy workshops with actors, rehearsal with multiple projection, sound design.<\/span>
\n\u2022 Feedback both informal and formal from spectators, contributors and curators.
\n\u2022 Feedback from contributors and collaborators
\n\u2022 Feedback from audiences.<\/p>\n

3 Contexts: locating the work in the contexts of significant points of reference (intellectual, aesthetic, creative, technological, personal, historical, etc)<\/strong><\/p>\n

\u2022 Performativity. Work of Judith Butler (1997) The Psychic Life of Power: Theories in Subjection USA, Stanford University Press,
\n\u2022 Psychoanalysis. Joan Copjec (1994) Read my Desire: Lacan against the Historicists Cambridge Massechussetts, October Books: MIT Press.
\n\u2022 Expanded Cinema. Martin Rieser and Andrea Zapp (2002) editors, New Screen Media Cinema\/Art\/Narrative UK, British Film institute<\/p>\n

4 The audio-visual screen work itself: aesthetics, themes, positions, issues<\/strong><\/p>\n

A multi-screen (5) expanded cinema work of \u201cEcho and Narcissus\u201d<\/p>\n

\u2022 Theme. The performativity of discourse and the difficulty and necessity of achieving effective agency and love when overcoming trauma. Echo and Narcissus are frozen, captured by their images and sounds, the piece enables the spectator to \u201clove\u201d Echo and Narcissus and to choose (with an element of randomness) different endings to their story.<\/p>\n

\u2022 Aesthetics.\u00a0Greek\/medieval theatre style, for narrative exposition, and also for a way of negotiating a post modern gallery space using sound and image, which has historic precedent.
\nVideo art influenced by Bill Viola, where spectators interact with Echo and Narcissus and their technological representation. John Adams \u201cHindsight\u201d (2004) for gallery film drama. Humphry Trevelyan \u201cIranian Journey\u201d (2003) for gallery multiscreen film. Interactive element consisting of a combination of montage techniques and sampling from web cams and outside sources, linking the mythic story to the present world of images and simulacra. Audience generation of images and sounds through triggers.\u00a0Alternative endings and narrative loops.<\/p>\n

\u2022 Position. The piece is positioned within a post-modern, non-essentialist feminist reading of subjects spoken and misspoken by discourse.<\/p>\n

5 Outcomes: key reflections, reception<\/strong><\/p>\n

Installation, documentation in terms of a web blog.<\/p>\n

6 Dissemination (information on public exhibition)<\/strong>
\nBlog and articles. Publication in DVD Screenworks. Performance at The Riverfront Gallery Newport, 4th – 11th November 2012. \u00a0Website\u00a0echondnarcissus.co.uk\/<\/a><\/p>\n

7 Other comment on criteria for evaluation<\/strong><\/p>\n

Criteria
\n\u2022 Exploration and innovation in expanded cinema.
\n\u2022 Appropriateness of form and content.
\n\u2022 Exploration of agency and narrative
\n\u2022 Creativity of meeting brief.<\/p>\n

Publications on Echo<\/strong><\/p>\n

2012. Echo. Interactive movie. ScreenWorksVolume III. The online peer reviewed publication of practice belonging to Journal of Media Practice. Intellect, London, June 2012.\u00a0 \u00a0ScreenWorks Volume III<\/a>.\u00a0 Accessed 30\/01\/2013.<\/p>\n

2011. \u201cAdventures in Remediation: The Making of Echo\u201d in Digital Creativity, Vol 22:4, Taylor and Francis: Routledge, UK.<\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

The idea of making Echo\u00a0as a piece of Research emerged from the\u00a0development of Practice as Research in the Arts as a discipline. \u00a0 This was fostered by the\u00a0AHRC Research Review in\u00a0Practice-Led Research in Art, Design and Architecture (2007). Practice-Led_Review_Nov07 This led to the foundation of Parip (Practice as Research in Performance) – see\u00a0here\u00a0– a five … <\/p>\n

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