This here is the report from the final tutorial: Gesa Helms feedback_part_6_DB . It was focussed, happened a mere five days after tutorial five and principally concerned a reflection on the whole module and the final stages of the parallel project submission.
I copy below the points from the discussion about the parallel project, which meant that rather than just submitting a g-drive folder with two jpgs, I would return to the idea of making a video, a video akin Katrina’s Palmer video as interview with the artist and the overall End Matter site, and in this video direct the viewer to the body of work that constitutes the parallel project:
- We mostly discussed the Parallel Project and how to use it as a guiding thread through the whole body of work. I appreciate Doug’s point that while the submission of two JPGs in g-drive folder is fine (as well as that it resonates with some other assignments in their ‘smallness’, or rather: conciseness, tightness), it would be good to give more of a sense of the development of the project and how it indeed has been parallel, woven into the whole body of work and accompanying it throughout;
- We return back to the idea for this project to be a video as body of work (as we discussed following assignment 3) and Doug comments that, just as I was explaining my rationale for the 2 JPGs, he felt it was important to bring that voice into this, by literally, again, using my own spoken voice. This was then the subject of the majority of our discussion;
- We used the discussion to unpick some of the contributions that my body of work in this module can actually make to an understanding of what constitutes drawing practice: to talk out of the screen, to instruct and direct the viewer to engage with different parts of the material; in that sense, my body becomes the drawing tool literally by using my vocal chords, my breath, my muscle tension to direct and produce the work itself;
- Doing so, it would also mean the work crosses the threshold between digital and analogue;
- The audio would effectively be based on an instructive script, provide a choreography around the body of work and make connections too to Palmer and Jonas;
- There were a number of further points we discussed to clarify different elements of what the video work could contain, how it could be structured and the relationship it can construct between author/subject/viewer.
I am also, more as a way of reminder to myself, include the final points for development — I realise tonight as I am rereading these that I had overlooked the point about contemporary theory relevant to this work:
Pointers for assessment (tutor)
- Consider our discussion on a video work for your parallel project that instructs the viewer towards the workyou have made.
- Maintain a view on the contemporary theory behind our discussion on your PP. For example, research intoperformance and the internet, the corporeal, digital interaction etc.
- I made a point about possibly adding Katrina Palmer into your critical essay that you may be able to weave in as part of your ongoing research.
- Do get back to me this week if there’s anything regarding your submission you’re not sure about.
I will add a final reflection post on the Parallel Project (and this tutorial).