School of Art - Theses
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ItemPulse, chance, flux: the energetic image( 2015)Pulse, chance, flux: the energetic image is a practice-led research project which investigates the possibilities for extending analogue film and digital video projection beyond mere image reproduction, to become a transmission of embodied energy. The project is broken down into three key areas of investigation: pulse (vibration; frequency), chance (indeterminacy; synchronicity) and flux (the flow and transduction of energy). This project argues for the existence of a fundamental pulse to the world, or rather for millions of pulses, overlapping each other. From the addition of a multitude of pulses of information arises interference: the complexity of the world. Key works of vibration by Alvin Lucier, Tony Conrad and Bridget Riley are discussed. Artistic strategies of chance are investigated as a means to imbue works with the complex- ity of interference and to question how deeply relation really goes. Key time-based works by John Cage and David Tudor are compared for their strategic attempts to model the indeterminacy of the world in their very form. Flux is articulated as being the flow of energy. Douglas Kahn’s concept of the Aelectrosonic (the always-moving electromagnetic) is discussed and an argument is raised for its extension from sonic practices to include the luminous. In thinking about Kahn’s idea of transduction as the ‘locating moment’ of energy, a fundamental technical difficulty in working with light energy versus sound can be accounted for by abandoning literal transductions, instead turning to allusions. Three projection installation works, Modulations (2012–2015), Black Noise (2012) and Dark Matter (2015), were created, each comprising arrangements of projection devices, objects and images in relation. Flicker was used as a tactic to transmit an apparent embodied energy via the projection to the visitor. Decentralisation and dislocation were used strategically to continually shift attention from object to image to space to experience. The marriage of these theories and tactics is intended to create an energetic ‘noise’ in the space, in the projection machines and in the neurophysical of the viewer.
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ItemI thought you were her sister...I thought you were your sister( 2010)'I thought you were her sister…I thought you were your sister' is an art-based research investigation into my biological identity as a twin. I undertook this method of examination to explore twin idiosyncrasies, shared thoughts and experiences, blurred memories and uncertainties relative to the twinned appearance of sameness that ultimately produces difference. Creative strategies of mechanical twinning and observations of biological twinning were applied as techniques of re-editing and manipulating found family footage, of my twin and I, to conceptualise twin identity as abstract visual forms that are then spatially installed to construct an environment relative to the viewer’s experience of twins.