Sue Gollifer
en
Sue Gollifer is the Director of the ISEA International Headquarters, and a Principal Lecturer at the University of Brighton, UK. She is the Course Leader for the MA in Digital Media Arts. Gollifer's primary research is on 'the impact of new technology within the practice of Fine Art'. A pioneer of early computer art, she has continuously explored the relationship between technology and the arts and has written extensively on this subject. Gollifer is on a number of national and international committees, including the Computer Arts Society, (CAS), ACM Digital Arts Community (DACs), and The Creators Council for the Design and Artists Copyright Society. She has curated a number of Digital Art Exhibitions including ‘ArCade’ and the ACM SIGGRAPH exhibition 2004 – Synesthesia.
comments
Exposition: The taste of tree? (01/01/2012) by Deborah Harty
There were a number of serious significant research questions, that can be found within their critical text. These identifies the link with research into practice based work and also demonstrated that there is a gap in the drawing research/phenomenology i.e. in developing the relationship of the senses from a collaborative perspective.
The submission shows evidence of innovation in content, form or technique in relation to this genre of practice. It is well contextualized and organised into a series of discussions as to the nature of that drawing that could be phenomenological capable of recording the connection of the senses as they appear to consciousness. It also draws on the analogy of Cezanne Quote: ‘that it is possible to ‘[…] paint the smell of trees’. It provides and identifies a number of different approaches to drawing, to help capture and record the experience of the tree. To then create collective memories of the experience of tree and to develop a collective experience through a shared encounter.
Within the development of previous research into drawing, there appears to be little or no evidence of work based around the idea of synesthesia and capturing the sensory approaches to the activity of drawing in its broadest terms, and also drawing with memory. So this essay provides new light and insight to articulate the collective experience of tree.
The research seems sound and the analysis of the data collected seems rigorously scrutinised. The senses of sight, sound, touch and smell were all considered to be evident in the drawing with discussion and memory: sight through the recorded visual image, sound through the audio recording of the environment, touch through the close-up recording of texture, and smell through the recorded dialogue. The sense of taste however they identified was not thought to be directly present in the drawing either within the visual or audio recordings.
I think its strengths were around the nature of the practice, which covered a variety of experiences to enable them to draw it to a conclusion.