Professional development interviews for my MA assessment

(above image) paul jeff, Polis


(single image above and all below)
emma hart and benedict drew at ica (photos here are my own)










am interviewing paul jeff (18th august) whom I wrote about in my dissertation for his Polis project and notions of Performed Photography in his phd project- the participant experiencing the act of photography, within an event, although in a different way to my interpretation. am also interviewing- emma hart (sometime during week of 18th august) for the way she works with low tech time based media, and the process of image making as performance. i saw her show alongside jordan mckenzie in rules and regs, southampton and also at the ICA with benedict drew.

paul jeff has given me sections of his phd to read that he felt reflected my areas of interest.i will be posting questions for the interviews shortly.

i was hoping to interview david harradine as an artist who has just completed a phd in the relationship between photography, light and performance. i wrote about david herebut he is unavailable for interview at the moment. however, he suggested to email him questions, which i emailed this week as follows;

• What do you see as the relationship between photography and performance and how has this influenced or directed your work and PHD?
  

• How and why do you use the process of photographic image making in your practice?
  

• How and why do you explore temporality in your work?

• What practitioners/theorists have influenced your work and how?
  

• Dancing with time project.
  

I wrote about it here on my MA blog: http://harrietvizlang.blogspot.com/2008/07/david-harradine-live-pinhole.html I only had the Wellcome Trust leaflet and my own observations so if there are inaccuracies please do let me know. I also wanted to know more about the development of the project, including timescale, and how the project came about with the Wellcome Trust. From a technical perspective, how you worked with white light, exposure timings, what you were writing in your book, systems and ideas you used for the pinhole side of performance, the use of the red light, the placing of images on the walls, use of tape and grids. In addition to this, how and why did you work collaboratively with others, (are you a pinhole photographer yourself or what was your specific role as I see you collaborated with Suna) and other art forms? What instructions/guidance/sequence were the dancers and sound designers following?

• The Camera Obscura project at BAC
  

I found this article- http://londonist.com/2007/05/camera_obscura_at_bac.php Is this the only use of the Camera Obscura (your website talks about a performance with the camera obscura, if so can you outline the project.) I also wanted to know a little more about the project- is this a good description on the Londonist? (how it ran, the ideas behind it) spectral imaging idea within the piece- why this technology was important photographically and how the shoot was actually carried out.