Image manipulation workshop

Sarah Pucill- You be mother

Ok- so to start to think about a possible departure from traditional photographic darkroom process as performance into other ways of playign with photography- outline for a workshop to do tomorrow with fellow VLPers....

Image manipulation workshop 27.3.08

Aim: To look at ideas on working with dual narratives- marrying or challenging the language of photography with storytelling

Through;
- addressing the aesthetics/meaning in images
- looking to the voice of the image/ the noise of the image
- developing a performative relationship with the image

This exploring is to suggest real or fictional stories or narratives through ways of using placement (image performing v backdrop) and different kinds of technology and surfaces to project onto or view images in; old slide projector, laptop, digital projector, flickr, modul8, photo album, cloth, cotton wool buds, postcard, screens, …etc. You can draw/create your own surfaces too and technology in its broadest sense extends from vjing imagery via digital projector to scissors, glue, ink manipulating imagery by hand.

I will be writing on a sheet of paper these key words i am interested in for the group to see and respond to through image manipulation and narrative/ storytelling

disposable
universal
temporal
exchange
authentic/inauthentic
public/private
intimacy
hyperreal
nostalgia
traces
interactivity
participation
live v mediated

Task :

Using any of the available resources devise actions/sequences/narratives/stories through manipulation of the imagery in playing with technology, surfaces and the above words. Maybe only work with one word or a combination. Try out different kinds of technology with the same imagery.

To try out;

Analyse an image/imagery in connection to a word(s)

What technology can I explore to represent this? How does technology heighten or challenge intended meaning?

What technology works best to communicate the chosen word?

(If projecting) Where will I project, onto what, how- is it static in a performative exercise or moving or developing?

What scale am I working at- why? Does this change?

How can the performance body be manipulated with the image?

What story/narrative am I sharing? How do I do best this?

Where are the audience sited in relation to the outcomes?

final outline for 5th feb workshop for nunnery piece

taking everything on board i realised there was far too much in the workshop and to scale it down, come back to some of these things in later work maybe. here are the final situations i decided to work with;

1. exposure - try domestic lamp against torch light
2. vary dilutions of the developer exploring destruction time against story telling time
3. explore the aesthetic of the projection of object into hands, holding carefully, nurturing, against projection of face telling story into hands, capturing the image onto skin
4. explore the increased physicality of the performance through painting on the developer against immersed into a boxtray
5. vary nature of objects i used for my stories- past, present, something i actually own, something planted in my pocket

i also need to really consider trying to replicate the sense of the 6ft x 3ft space in the nunnery closet

schedule;9.30-1pm

set up 2 hours, run with hour blocks lena, laura,doug, they experience the basic storytelling/photogram structure varied in the above ways and then feedback to me,maybe amending for the next participant in light of points made?

Workshop first draft for 5th Feb-Darkroom performance

Developing ideas for Nunnery show


Project title: In my pocket/In your pocket: intimate exchange/change

The aim of the workshop:

The workshop aims to frame my visual arts practice purposefully within performance. I aim to explore ideas common to my Critical studies research into non-matrixed theatre of Happenings, Fluxus and Tino Sehgal.
I will be testing the fusion of performative actions and concepts through utilising time based media practices in unexpected ways. I will be examining how reinventing/disrupting ‘correct’ or ‘usual’ techniques can reinforce/direct narrative and meaning within an intimate performance, and also test differing methods of giving instructions, levels of audience participation, ways of generating narrative. I will work with the idea of what’s kept in our pockets, unearthing the contents of this secret place, the treasured or the mundane.
The objectives of the workshop:
• To explore the disruption of conventional photographic processes through performative actions and projected media
• To explore how instructions for action can be followed as fixed or improvised and fluid- eg. followed in a flow diagram with set and also open ended interpretations
• To explore relationship between rehearsed and improvised(chance), use of self and/or a briefed actor-performer
• To explore the chemistry in the photogram technique-eg speeding up/slowing down the destruction of the photogram and thus impact on the performance duration
• To make purposeful through testing the methodology the link between concept and photo process- why does the image of the pocket object only exist as a fleeting materiality - match object’s identity/story to photographic action
• To explore what happens when multiple endings are possible- not everyone will have the same encounter- does this matter? How does this different journey feel to each participant?
• Are these ‘real’ objects based on ‘real’ life? To explore how narrative is created derived from objects’ history in pockets- and the idea of its story- if it is ‘fictional’, yet presented as real? How do the marks, the scratches, tears etc shape the meaning?
• What’s the relationship between my object and participants object- how ‘selected’ are the objects- plausible item you might walk round with or fantastical. Questioning why?
• To explore different contents of projected imagery to inform narrative- person-place-object itself?, using constructed image-pre-recorded animation, film, photography, or even live action in front of video camera , for example how story of how it ended up in the pocket
• To explore use of the relics of the performance- pinned up on outside of door?
• To explore the idea of co-producers of the work- performer and participant?
• To explore how the narrative is generated. Is the performance in silence or Live narration (me- rehearsed or improvised, with projection) Live (me and participant in conversation) Pre-recorded (audio only or film, stop frame with or without voiceover) How is it presented (projection via multimedia, onto what? Screen, cupped hands, stage, directly from above into processing ’tray’?
• To explore how to empowering the spectator to act- why and how? What do they get out of it? Frame it as a flea market exchange of objects?
• To explore how to centre attention on action and narrative and less on environment, in the construction of the fabricated darkroom space


Some other questions for future work:
• What is the processing tray? A family album with a front cover lid? A drawer from a chest of drawers- ie where photos come to rest. Am I working with ordinary objects in a new context or making props? How theatrical is this experience or framed as fine art????
• To explore ‘set’ for the performance- red light table lamps ‘domestic’ table, etc- or how relevant is a ‘set?’ use a plinth/ darkroom safety lights- more clinical, less referential, and gallery orientated?

• To explore when to use high tech(multimedia projector) and when to use lower tech (slide projector) how does this device shape what’s communicated

• To look at when to use found imagery eg slides over constructed or live.

• Timings of event for Interim show website- How long is this, queue up, set times, deli counter tickets? Throughout the private view and the 3 days?

The schedule: All day Tuesday 5th February 5th, Attic, WCA. Set up 9-11, workshops run 11-5pm.

Participants will enter the Attic in red light and experience a number of workstations exploring different variations (technology, instruction methods, etc) on this basic sequence;
Sequence one: Participant enters darkroom where HP is already inside. HP has an object in her pocket. The object is produced by HP and becomes the initial subject of the performance. Performer along with the participant explores some narrative/ideas about the object through image in some form which includes projection and photogram technique, conducted in silence. A photogram image is created and erased through projection light. The participant is invited to share an object from their own pocket. If they don’t, performance ends. If yes, Sequence two: The new object becomes the material for the performance- variation on the photogram-projection technique in some form. A second photogram image is created and erased through projection light. Sequence three: Participant is either offered the opportunity to exchange their object for the original one or change theirs or the original object in some way, the passover/process of change is marked as a moment through a photogram. Participant either exchanges/changes object and (Sequence four) does a third photogram or the performance ends. At which ever point the performance ends, the object(s) go back in their pocket, either new pocket or original one depending on the pathway chosen.


The technology and skills involved:

Darkroom equipment, multimedia projector, slide projector, pocket objects.
The target audience
Time based media working group in the first instance.
The intended outcome and how it can relate to future practice
This is the first time I will have carried out a performance in a constructed environment myself. I intend to review the feedback to develop the Nunnery final piece.