Learning Agreement- first attempt :)

Ok- so here goes;

1 Aims ( outline the purpose, scope, visions and ambition of your plan of work)
What’s the relationship between photography and performance?
As process, maybe outcome and as documentation? How can the many forms of photography be manipulated in the performance context to add visual interplay, narrative, collage to performative events?

What’s the relationship between traditional and digital photography, when to select what? the collapsing of audience-performer boundaries through perhaps joint participation, social engagement out on the street where both are sharing and creatively engaged towards outcome. Or the auditorium based approach exploring the experience of the process of forming a photographic image as a performative event in a staged darkroom.

Taking my visuals for performance screen based work to a much more interactive and less illustrative level within performance, where photography can become more about subject, performer, action, and less backdrop, decorative object.

Exploring through collaborations what performance can mean to photography and vice versa so neither is an ‘add on’ after thought.- moving away from the idea of vj

Testing the water at this exploratory stage by creating a series of experiments around these themes both individually and in collaboration with others.

Developing greater knowledge and expertise about performance theory and ideas to make more purposeful connections with my photographic and moving image practice.

2 Objectives (The expected objectives leading towards the learning outcomes of the unit)

Carrying out a series of experiments. To look at what’s possible in photo-performance relationships and work with other’s whose practice has perhaps been more live art/theatre based to this point so that project work is mutually beneficial.

1. PHOTOGRAPHY AS PROCESS
a) Developing extracts of Laura Smiths (VLP student) 'Anonymity' previous performance-using footprints created by the audience stepping in paint through process of traditional darkroom based special effect- photo-batik. This may be where the audience steps into moisturising cream and leaves footprints on photographic paper developed as photographic prints in an auditorium as darkroom environment.
Contextual references- Julia Bardsley, Man Ray, ?? others?

b) Exploring Processing using photographic imagery as a device where technology and performer/spectator interact directly. Possibly making work using simple techniques towards the group show in December.
Contextual references- OFF 2006+7, Zach Lieberman, Golan Levin, Theodore Watson (open source software developed for artists), Yahoo Hackday Nigel Crawley, Casey Reas, Ben Fry, (re)actor2- performers

2. PHOTOGRAPHY AS DOCUMENTATION OF EVENT. Review the status of my cameras through developing experiments- action man doll, DSLR, holga, pinhole, camera phone. Explore the idea of surveillance through photography- high and low tech.
a) Exploring pinhole cameras as hidden cameras- e.g. suitcase camera and an invisible performance in an everyday happening. Try this in the old school butchers in Morden Hall road? Or radiators as cameras?? Contextual references-Barabara Ess, Adam Fuss, Stephen Pippin, Justin Quinnell
b) Exploring hidden camera in camcorder headset linked to portable multi media player, and camera phone- looking like texting for example. Try this in Laura’s Tube performance. Look at online performance possibilities. Contextual references- Surveillance manuals, Merry Alpern, ?? others?
c) Photography within Participation project- how do others behave and react to cameras, process of making work as the work itself, removal of author, collapsing of audience-performer boundaries, democratising performance? How can the work be created Contextual refs- Marysa Dowling, French and Mottershead, Spencer Tunik, Ann-Marie Lequesne, Gillian Wearing??

3. Read and gain more knowledge about theory of performance work, go to shows exploring site-specific / technological approaches- Masque of Red Death, Water, A Disappearing Number, Matthew Barney.

Books- e.g. Camera Lucida by Barthes, Ways of seeing, Berger, Participation by Whitechapel Gallery, Processing A Programming Handbook for Visual Designers and Artists book, Casey Reas, Ben Fry. Responsive Environments: Architecture, Art and Design (V&A Contemporaries) by Lucy Bullivant.

3 The Plan of Work describing the principal stages and timescale of the work

1. PHOTOGRAPHY AS PROCESS
a) Devise series of workshops sharing photo-batik process with Laura, trying out processes over period 22-10-07 to 9-11-07. Testing ideas on member of the VLP group, using the Observatory space?

b) Read and begin to learn processing language and devices- review Michel Gondry piece, Drawing piece, make contact with Zach/Theodore? How can the ideas in processing develop more theatre based performative practice? Maybe test out existing pieces? Find others working in similar practice if possible in London- contact Nigel Crawley again? Over period until Xmas.

2. PHOTOGRAPHY AS DOCUMENTATION OF EVENT
a) Making objects into cameras-devising performances in relation to the nature of the object over period 22-10-07 to 16-11-07.

b Co-ordinate with Laura and others over this. Monday or Tuesdays?

c) Every Thursday til Xmas

3. Read in relation to supporting performances explored.