my presentation- define your practice

notes i prepared.......
• Work has been completely collaborative cross-arts work, responding to others’ briefs

• Inspired by my teaching in a hugely inspirational vocational performing and creative arts school where fusion between art forms increasing sensory perceptions encouraged, most staff have come from industry, much work is community based

• Contemporary approaches to working- eg Site-specific promenade performances, vjing, gaining digital arts status so dominated by whats possible in the light of new technologies? My concern is about fusing high and low, making technology fit the purpose

• My own work has developed through happy accident alongside teaching- whilst working on a animation for a music gig with students, music teacher asked my is new anyone wanting to work on her phd in composing with her, this is it

• Called sedna stories, inuit folk tales, came from folklore poetry, mixed pinhole photo, digital , photograms so in and out of darkroom and on computer, but all viewed on screen as an illustration to the music. Love pinhole, dark ghostly quality and possibilities of types of camera- hidden in environment eg radiator or held in public- presence or absence of the tool to capture image? One of my questions this year- public/private/surveillance.

• Night marish lullabies-the toys of the performers use of colour/bw, black and white simulating pinhole (so more immediate)

• That witch- songs from random words on the internet- collaboration between electronic artist, kerry, lots of stuff about 3 somes, taken during hugely inspirations trip to digital arts conference OFF in Barcelona- wondered round market with camera with the lyrics over 2 hours combined with tratchenburg approach work with vintage slides found at car boot sale. Calls into question the issues of slide projector over multimedia- nostalgia removed. Venue and audience- people going to see a music gig, visuals an add on- always bugged me the status they are given in gigs- spitz screen facilities terrible- old sheet, hopefully things are changing.

• Hausmusik- cargo- Experimental german group Klangsieben- music made with household objects- Following Allwyn Pritchard score of a flow diagram to initiate visuals and behaviour on stage- tiny toys in real life from the from being used in making music/ body shapes in improvisation.

• Film for sound art- Solar Noise Generation experimental Friday night lates event- inspired by Julia bardsley mini me and dressed like this on the evening, simulating being inspired by artwork and rewired netgear box into art installation- didn’t work as was told were in passageway where film as a backdrop, people could talk to ash about what he was doing, have a go etc, ended up on the stage in an auditorium where it seemed as though he was accompanying my film, film too slow- importance of understanding venue and way audiences are involved

• Me- too vj like- too unhappy with the idea visuals are an add on, too caught up in being associated with vjing which has its own issues- naff fractals, meaningless special effects- now needing to learn about performance- play with getting the image off the screen more to make visuals more integral, and more immersive for the audience, also the idea of camera as a prop and what is an audience??? tried out on a course, how do we relate to London?

• Invisible performance- can you give me a new look- issues- the experience in relation to the documentation- should this have been covert filming, sound recording- missed some gems they were saying. How to present??? On a plinth or as photo?

• Issues- How to record? Hidden and public, how do people responding to different devices?

• Berlin- cute action man versus photojournalistis digital SLR or mobile phone? How people behave differently GET OUT CAMERAS

• How can photography be both process- collaborating with Laura to explore in photo batik and darkrooms as auditoriums, possible use of computer programming with interaction design for performers controlling film/photography/ animation actions on a screen though voice/ pulleys etc, and outcome- filming of event, online audience

• Starting- Laura and I, using Frenchmottershead participation workshops to gain performing/interacting confidence and understanding tried out complicite so seeing what happens......

overall i was pleased with how it went, its more scary than standing up in a kid ridden assembly let me tell you presenting to your peers and tutor. given i've had a week in which my other lives of school and nsead presentations have been full on (and need to look at this imbalance in my life), i was pleasantly surprised, but i know greater selection, greater focus is needed, i need to weed out the most inspiring bits to me to push on out into the unknown and get the most out of the ever shrinking time here. re-telling the stories of my work in relation to the work could be helpful to me as suggested, i do enjoy talking about my give me a new look piece invisible performance for starters.....