Index / links to sections of this resurch:
Carngorms - 'getting to grips with place'
Dyffryn House and Garden ' speculative Resurch'
Coventry - Hacietties and Quididities
How might affect theory contribute to the understanding and creation of non-narrative sound sculpture?
What are the values and limitations of theorising ’gathering’ and ‘scaffolding’ as art practice based research methods.
How might embodied encounters with non-narrative sound sculpture engender…
Something emergent - constantly developing - the emergent knowledge from this investigation….
Slippery - seeping as well….seeping edges…
Read more Massumi.
What / Aims:
Explore how affect theory might contribute to the understanding and creation of non-narrative sound sculpture
The potentials of theorising ‘gathering’ and scaffolds’ as a research methodology.
How to create atmospheres and embodied encounter with the potential for event from ‘commonplace’ gathered materials.
Exploring places/spaces but not making documentaries of those – but rather something ‘of them’ and out of them.
The role of the author in the work and the theorising / understanding.
How / objectives:
Through practice based research construct sound sculptures in a range of forms from different settings shown in divers settings.
Look at the intersection of sound art and affect theory through a heuristic and autoethnographic lens and explore useful things that are thrown up. Following those things that feel they have legs…..
Developing and emergent, shifting all encompassing methodology that works with material / stuff and approaches. All with a whether eye on not ‘squashing’ the affect out of things..
Through autoethnographic notes, discussion, critical reflection, analysing and understanding the work/ideas, what they might do and how they inform this research. (iterative, self feeding)
Need to add in slippage – not existing in isolation?
Need to add to questions that things are about spaces / places moments etc – that these aren’t narratives or journeys but bits and elements from moments
fundament definition: 1. the most important facts, ideas, etc. from which something is developed:
as hasiatties and quidideties?
This is my introduction page and will contain all the background information, title, aims etc.
It will also contain the links like a contence page, to the other sections and be the area that is returned to to navigate through sections.
Working title:
hear // here || gathering the common place: towards a new understanding of affect + embodied encounter through constructing non-narrative sound sculpture
Aims:
To consider, in a heuristic manner; how a turn towards affect contributes to the understanding and creation of sound sculpture.
An investigation, through process, of making non narrative sound sculptures constructed from gathered material and their potential to communicate atmospheres of affect.
The development of an all-encompassing, multi modal, methodology; utilising scaffolds to facilitate the management of research material (theoretical, for making with and generated) without the compressing of ‘affect’ out of the ‘constituent elements’ (gathered stuff)
To explore micro-perception in relation to sound art / sound art through micro-perception; and the possibilities opened up through this research for having greater understanding of and creating sound sculptures which are embodied events of affect
The potential to encourage listening through the placement of sound and its slippage with the audio ecology its placed within.
- Repeating things
- The twittering tree
Artist exploring affect and encounter through gathered materials
This is a thing in process; it might well be a bit ‘bitty’ and jump around – I will repeat myself and go back and forth
it will be a presentation in parts; I tend to work through cycles and iterations, often making from the same source, ideas or materials in different ways at different points. This is also part of my methodology, my approach to practice as research, my approach to making and thinking.
This is a snap shot – of where I am at the moment with my doing / thinking – what I am hoping is that I am not setting it down to tightly, hoping that it all has movement still – that its not a static thing, held for a moment– but - to refence Yves Lomax able to be a tree and birds coming together – making a twittering tree.
It is an overview of what I have been doing and thinking about – but that this is not a definitive or absolute notion of what I am doing or how it works – but just a point; this point and how I can describe it now. This is not an end but a where I am in the terrain at the moment –my current place on the map
In part this is because I really think that things need to be able to shift and change, that they are not unmovable; that if I had finished this presentation 4 days earlier it would be different, if I was presenting a month later – this would be a different thing again. And that in my process things are only ever what they are at that time; so this is a snap shot of a moment – but hopefully not to static.
- It will be useful if you know who I am
I might be flighty in my thinking – and interested in letting that run; but also aware that if I like a map a structure to help me find my way and work with things – you might too – so I will tell you a little about myself and what I am planning to do today
I am 4 years in to a part time Phd –so as you see am beried and entangled in the ‘middle’ of it. In the future I will be able to reflect on it, unpick it and explicate my methodology and process in different ways I am sure; before I began I put in a proposal which needed to state how I would undertake this process – but I am currently ‘in’ it so all I can share with you is the messiness of thinking / doing at this point.
I am going to give you an overview of a number of ‘projects’ I have been involved with; mine is practice as research (I don’t want to get too bogged down in the semantics) – but I suppose I am meaning that through process of making, reading, discussing, writing, thinking I am understanding, I am not making in response to theory, I am not finding theory to explain the making – I am working with theoretical, practice and material concerns that are linked and I am trying to pull them together and apart – unpicking and exploring, they are things that are ‘talking’ about or ‘looking to’ similar areas; so its about them / me working them together to explore – so Practice as Research
Also, for me one of the things that has begun to occur, is that I have started to maybe make things to explicate thinking, that are maybe more performative, that are inter modal – that slip and slid between the different element I am working with. I am quite interested in the slippage and the boundaries between presenting an art work, or re-presenting it and talking about it, and how a performative element of shift and movement between modalities may be a useful way to explore and understand what I am doing – so again, as in my ‘practice’ - something that doesn’t document what’s made and thought – but something that maybe makes something else of that – so that it is something to be experienced – its intertextual, multi modal and says possibly more than I can alone.
I am going to try and be linear from now on about the order works were made and hopefully it will be a route that is followable. so that’s my plan / aim for this talk and then there will hopefully be time for discussion and questions at the end.
I also want to make it really clear – I am not a philosopher, I am a sculpture.
I am ana rutter, I am a phd student at Birmingham city university, my phd sits between the school of art / fine art and the royal Birmingham conservatoire.
And my working title is
hear // here || gathering the common place: towards a new understanding of affect + embodied encounter through constructing non-narrative sound sculpture