{"id":1878,"date":"2017-01-31T12:59:09","date_gmt":"2017-01-31T12:59:09","guid":{"rendered":"http:\/\/blogs.plymouth.ac.uk\/artsinstitute\/?p=1878"},"modified":"2017-01-31T12:59:33","modified_gmt":"2017-01-31T12:59:33","slug":"1-february-2017-new-materialism-and-film-artistic-research-seminar","status":"publish","type":"post","link":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/2017\/01\/31\/1-february-2017-new-materialism-and-film-artistic-research-seminar\/","title":{"rendered":"1 February 2017: New Materialism\u00a0and Film Artistic Research Seminar"},"content":{"rendered":"

Wednesday, 1\u00a0February 2017<\/span><\/b><\/p>\n

4.30pm > 6.00pm<\/div>\n
Scott Building room 102, Plymouth University<\/div>\n
<\/div>\n
Presented jointly by the Artistic Research Cluster\u00a0(ARC), Moving Image Arts (MIA), and Performance.Experience.Presence (PEP) research\u00a0groups,<\/div>\n
Faculty of Arts and Humanities, Plymouth University<\/div>\n
ALL WELCOME<\/div>\n

<\/b>
\nDuring this seminar, artist researchers Kayla Parker<\/strong><\/a> and Deborah Robinson<\/strong><\/a> will\u00a0present their new films,\u00a0On Location<\/i>\u00a0(2017, 12 minutes) and\u00a0Like a Signal\u00a0Falling<\/i>\u00a0(2016, 8 minutes), and explore the evolving methodologies and aesthetics\u00a0in\u00a0relation to new materialism and the Anthropocene. Screenings will be\u00a0followed by a Q+A discussion, which will be chaired by Min Wild<\/strong><\/a>.<\/p>\n

\"\"<\/a>
Kayla Parker: On Location<\/figcaption><\/figure>\n

Dr Kayla\u00a0Parker:\u00a0On Location<\/em><\/b><\/p>\n

A hybrid form of landscape cinema, which observes a\u00a0year\u2019s cycle of seasonal changes, centred on an unnamed hollow way in a remote\u00a0area of rural mid-Devon. The film captures meteorological phenomena and the\u00a0natural world in the sunken lane over a twelve month period, using experimental\u00a0filming techniques and field recordings made at the site that capture the sonic\u00a0architecture of the space.<\/p>\n

To create the film, I made regular field trips to the\u00a0location with the cinematographer and sound recordist Stuart Moore – these\u00a0visits allowed us to experience the place during a varied range of weather\u00a0conditions\u00a0through winter, spring, summer, and autumn, to respond intuitively\u00a0using our camera and sound equipment, and then to review and reflect on the\u00a0recordings we had made.<\/p>\n

On Location<\/a><\/em>\u00a0is the initial phase of a practice-based\u00a0research project that responds to Annabel Nicolson\u2019s artist\u2019s book,\u00a0Escaping Notice<\/em>\u00a0(1977). Nicolson was an\u00a0important member of the 1970s British film avant-garde, and\u00a0the unnamed hollow\u00a0way connects to a track that leads to the isolated farmhouse featured in her\u00a0book. The film was first exhibited at Plymouth Arts Centre from 10 to 19\u00a0January 2017.<\/p>\n

\"\"<\/a>
Deborah Robinson: Like a Signal Falling<\/figcaption><\/figure>\n

Dr Deborah\u00a0Robinson:\u00a0Like a Signal Falling<\/i><\/b><\/p>\n

This project\u00a0explores empathy and vision in relation to Virginia Woolf\u2019s writings through\u00a0the use of experimental film techniques.<\/p>\n

The film evolves\u00a0around a bust of Woolf at Monk\u2019s House, Sussex, that was created by the artist\u00a0Steven Tomlin in 1931. Under the scrutiny of sittings required by the sculptor\u00a0Woolf experienced a deterioration of mental\u00a0health. As a result the sittings\u00a0were called to a halt and eyes in the sculpted head remain incomplete. The\u00a0unintended incompleteness of the \u2018empty\u2019 eyes acts as an invitation to the\u00a0observer to fill them with his or her\u00a0own eyes \u2013 to \u2018see\u2019 as if from Woolf\u2019s\u00a0position. Central to a process of film making that might be described as a\u00a0re-enactment (or re-tracing of) visual influence on Woolf is a search to find a\u00a0way to connect a modernist\u00a0historical artefact to a contemporary aspect of\u00a0mental health.<\/p>\n

Like a Signal Falling\u00a0was developed as a part of an AHRC-funded project \u2018Modernism, Medicine and the Embodied Mind: Disorders of Self\u2019<\/a>\u00a0and exhibited in July 2016 at Glenside Psychiatric Hospital Museum in Bristol.<\/p>\n

Biographical details:<\/b><\/p>\n


\nDr Kayla Parker\u00a0<\/b>is an artist film-maker\u00a0and Lecturer in Media Arts whose research interests centre\u00a0around subjectivity and place, embodiment and technological\u00a0mediation, from feminist perspectives, and explore the interrelationship\u00a0between the body and forgotten, liminal spaces.<\/p>\n

Dr Deborah Robinson\u00a0<\/b>is an artist and Associate\u00a0Professor (Reader) in Contemporary Art Practice who collaborates with\u00a0scientists, artists, biomedical experts and technologists in the making of\u00a0experimental installation artwork using moving\u00a0image and sound. Her artworks\u00a0have explored data transposition, questions of agency, disease and mental\u00a0health.<\/p>\n

Dr Min Wild\u00a0<\/b>is an\u00a0Lecturer in English who researches in the\u00a0eighteenth century, with special interests in periodicals and print culture, in\u00a0satire, and in criticism. Her monograph, published by Ashgate in 2008, is a\u00a0study of\u00a0The Midwife<\/em>,\u00a0Christopher\u00a0Smart’s irreverent magazine of 1750-1753, in which the poet takes on the\u00a0persona of a critical and opinionated elderly lady called Mrs Mary Midnight.<\/p>\n","protected":false},"excerpt":{"rendered":"

Wednesday, 1\u00a0February 2017 4.30pm > 6.00pm Scott Building room 102, Plymouth University Presented jointly by the Artistic Research Cluster\u00a0(ARC), Moving Image Arts (MIA), and Performance.Experience.Presence (PEP) research\u00a0groups, Faculty of Arts and Humanities, Plymouth University ALL WELCOME During this seminar, artist researchers Kayla Parker and Deborah Robinson will\u00a0present their new films,\u00a0On Location\u00a0(2017, 12 minutes) and\u00a0Like a… Continue reading 1 February 2017: New Materialism\u00a0and Film Artistic Research Seminar<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":1879,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,137],"tags":[629,446,163,17,628,81,86,79],"class_list":["post-1878","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events","category-histories-memory-memorialisation","tag-amazing-women","tag-arc","tag-artist-film","tag-artistic-research","tag-deborah-robinson","tag-kayla-parker","tag-moving-image-arts-mia","tag-pep-talk","entry"],"_links":{"self":[{"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/posts\/1878","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/comments?post=1878"}],"version-history":[{"count":3,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/posts\/1878\/revisions"}],"predecessor-version":[{"id":1883,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/posts\/1878\/revisions\/1883"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/media\/1879"}],"wp:attachment":[{"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/media?parent=1878"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/categories?post=1878"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/tags?post=1878"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}