April - presentation as part of PGCert

2016

Sept. 'Work in progress' with SOMA / Sonia Russel Saunders at IKON - development of thurd part of project - 

December - Norfolk sound edditing / design worksgop weekend

I mad the 1 min piece that really moved my thinking on along with Grasslands.

April - Grasslands micro residancy

 

really when I began to think about details and close looking / hearing - no walks and shifting through spaces...

October - print for 20/20 - thinking about sound as words - this was '20 mins of listening in a quiet space?' the first hand writen iteration

June - recording trip to Northumbria - a trip I was meant to go on the year before but had not been able to due to ill health. 

Submited Methedology late due to dydlexia suport not being in place

Feb 2016 - start Phd.

Initially PGCert in resurch

May Submit Servey of the Field

2017

Ana Rutter - PhD timeline

add in text and slides from newman talk? use those to make some of this overview? - a mapping?

2018

2019

2020

2021

2022

2023

1.b Not starting at the beginning

 

 

  • The joy of things that say something around what you have been thinking
  • How to hold open spaces for things to happen in? 
    • How to gather with affectivity

 

I am not going to start at the beginning – but at a point just found; some paragraphs I read a few weeks ago– they speak of something I had been struggling to articulate; but also it was one of those moments that is a bit saddening – a moment when you realise that most, if not all of what we / I think is not new – or well at least not wholly new……. And this again leads me somewhere – that is again not the beginning, but maybe a beginning – but maybe the beginning of something else – so to try not to digress to far I will try and stay with this

 

I am interested in working with the ‘stuff’ from around us – gathering is part of my process and then working with this ‘gathered ‘material to construct new ‘things’; I don’t want to make documents of where things are from – but to ‘gather’ something of them – and from those gathered elements make something – something active.

 

Iteratively working with this ‘stuff’ is central to this process– its about exploring from different angles, placing new elements together, coming to it again from a different point. But again I digress….

 

the passage I read is from Yves Lomax, Page 32 – a twittering noise

 

The chapter is a conversation about event and when it happens (sort of) – it describes a tree and birds in it and how they come together to make a twittering tree (check name) the other voice is asking if you could photograph this – capture it 

 

She said that with the making of the twittering-tree there was a becoming pine-cone of small brown bird and a becoming sonorous of tall coniferous tree. She said that the twittering -tree was composed by such becoming, which was born from the affectivity that made tree and birds quiver and conjugate and become musical being. She said that in making a photographic image with the twittering-tree there would be yet another making, yet another conjugation, yet another becoming. Yes, another event. She said that there would be a becoming-photograph of the twittering-tree. This becoming, however, would not be the same as the becoming of the twittering-tree. There would be- would have been-a difference.

 

She continues by saying that just as there had been, with the making of the twittering-tree, a transformation of the functional features of a bird’s twitter and a tree’s seed there would have been, with the making of a photographic image, yet another transformation.

-       ‘A photographic transformation.’

She said that a photographic being would have been born. Not a reproduction of the twittering-tree but a being born by way of an openness towards being affected by the twittering-tree. As with the twittering-tree itself, such a being would have been born of affectivity.

-       ‘Isn’t an openness towards being affected what is asked for when one acts to make with something or someone else?’

And I said that if a photographic image were made with an openness to being affected then wouldn’t this- according to what has been said of how affectivity made birds and pine -ones quiver and vibrate – make the photographic being become musical being, even if not a whisper of sound is heard?

I smiled and so did she.

And there we were, waiting and grining.

And as I read it I grinned with them