Further Research on How to Display my Installation

After having a tutorial with Kathleen there are many ways that I could possibly display my working including thinking about how many images I will include and how they will be placed next to the animation, and more importantly why I am going to display them in a certain way and how this relates to my concept. So I think the best way to do this is to look at other projection installations and see how and more importantly why they have chosen to do it in that way.

Although the concepts below may not match my concept, its looking and analysing that link between form and idea and purpose.

Kalle Nio - Mask & Machine

“In his exhibition Kalle Nio explores the spacial possibilities of moving image montage. Two streams of images in where the portrait-like images of the faces of people are filmed separately in a studio space are projected on a sculpture-like construction with a two-layered screen set-up. Illusion of interaction between the faces is born when the images are screened simultaneously.

The artwork relates to the themes of distance and communication, which has been a subject of research for Nio also in his earlier works. One starting point for the exhibition were the writings of Lev Kuleshov (1899-1970), a Soviet film director and film theoretician. According to Kuleshov the face of the actor functions like a mask or a machine. It reflects overall environment without any specific expression, and it´s features can be said behaving like parts of the machine.
Kuleshov is most known about the experiment in where the images of different kinds of objects were edited following the image of the face. The audience complimented the skills of the actor even though the image of the face was always the same.

The aim was to liberate the moving images from the conventions and to examine the audiovisual language in the dimension of the new technologies. In his exhibition Nio has created new tools of presentation, modificating the screen and the apparata of moving image into new kinds of sculptural entities. The exhibition shows that the area is still open to previously unknown variations."

http://w-h-s.fi/performances/masks-the-machine/

My Thoughts
The way the artist has used the two screens is interesting, as it shows a sense on distance between the characters or subjects, however they have some sort of connection which makes them compatible with each other. The big projections work well, especially with the close ups of the face as it draws some sort of close intimacy with the subjects.

Everywhere by Cloud Pink

"If you recall “Soak, Dye in Light” project by everyware, Cloud Pink is the latest iteration, taking on the analogy of cloud rather than paint soaked fabric. The installation invites participants to “touch the pink clouds” drifting on a giant fabric screen suspended in the air.


Lying down on a hill with your pupils filled with the endless blue sky, perspective of your eyesight suddenly gets distorted and clouds drift at the tip of your nose. You stretch your arms up to the sky to touch the clouds but can’t reach. Another world right above your head, clouds.

Created using Processing, GLSL and 2 x Kinects and Projectors."

http://www.creativeapplications.net/processing/cloud-pink-by-everyware-another-world-above/


My Thoughts
I think the perspective of this installation is interesting by the angle at which is to simulate the sky, however the angle it is pretend at allows interaction with the participates. The sense of gazing up and sky gazing has something magical, and relaxing about it. And simulating that aids the purpose of the interactive piece.

Laura White

Fish Fit & Fragile Brute


http://www.laura-white.co.uk/

My Thoughts
I really like when moving projections are projected onto interesting surfaces, particularly when it aids/creates a concept for the piece. Physical objects and the images go hand in hand in these works to create an interesting image, especially with the fishbag piece and the rhino (implying they are actually fragile creatures).

Doug Aitken - Interiors

"In this video installation, eleven large translucent screens are arranged to form a Greek cross around a space containing a circular bench. Projections appear at the far ends of three of the rooms created by the screens: in alternating narratives a young woman walks through a city, plays handball, and stands in front of open water; a man works in a helicopter factory and at one point begins to tap dance; a different man strolls through a city and stands near the water; a younger man walks through a city; a seated older man chants loudly; and a couple with a baby walks near a harbor.

The work draws out the compositional similarities between four urban areas, using city nightscapes, street and traffic lights, and architectural settings to make them seem to be parts of one heterogeneous megalopolis.The broken narrative creates a logic that is not based on a recognizable pattern; three different screens each show fragments of four narratives that are constantly recombined with no visible loop, pattern, or repetitive plot. Because the screens are made of translucent material, the images are visible inside and outside the structure, allowing the viewer to move freely in the environment while experiencing the work. This arrangement suits the installation, which is less about duration than it is about simultaneity, symmetry, lack of hierarchy, and the validity of any given scene at any given time."

http://www.moma.org/collection/works/109080

My Thoughts
Again this piece is to show separates narrative which all have some for of connections. There are similarities in the images, and lack of hierarchy as the viewer can choose which ones to look at. The audience is offered to look around the installation, which I like about works like these as it is subtly allows audience to be interactive with how they view it rather than looking at a single screen.

Other Photographic Inspirations

I would really love to use material in my piece, and give the illusion that there is/ appearance that there is no clear image of what is the real material, what is the photographed image, and what is the 3D animated images. I want to create layers to symbolise the variety of skins we have, in the physical and also virtual world.

Bruce Nauman -Inspiration for multiscreen and sound projection

Bruce Nauman

There are three projection surfaces and six monitors of a mans head spinning. In a variety of tones he sings 'Feed me, eat me, anthropology, help me, hurt me, sociology'. The space has to be entered to feel the full effect of the installation, as the sound is projected through speakers. The noises come from different directions and aim to irritate as much as the contradictory demands. In some aspect all combined creates a disturbing moment, and makes the viewer feel uncomfortable. Not only does the uncomfortable feeling become part of the artwork but the artwork also encourages to think about the inherent qualities of subjects and object, and to human beings in society.

The human being is torn between the physical human body and social body. Although this piece is uncomfortable to be part of for a long period of time, the multi screens create more of an interest and create a wider perspective, especially with the use of sound that contradicts the image, it creates more curiosity. For my personal project I want to use multiple moving image photographs with sound (surround) to create a sense of space between the viewer, and myself as the subject of my work.

Photography/Projection Installation Inspiration - Ann Veronica Janssens

I really enjoy the way she uses light and different materials and surfaces to create the illusion of water. In many of her works she uses, screens, lights and projections to play with colour, and light fragmentation. It gives a sense of space and clean-ness whilst having depth.

This is something I am exploring at the moment, and thinking of ways of how to use the room.

Shamanism - Current Practices and Present Tribes

Shamanism is thought to of now be included in many cultures and part of many religions, as aspects of it such as spiritual, herbal, rituals, song and prayers are adopted. It is believed that shamanism does exists in modern, industrial societies, as there are faith healers and many other evangelists in their own society corresponds in many respects to one or more definitions of shaman.  Furthermore, given the current revival of interest in the supernatural that is taking place in the United States and western Europe, shamans may become more common. The anthropologist Alice Kehoe criticizes the term "shaman" in her book Shamans and Religion: An Anthropological Exploration in Critical Thinking. Part of this criticism involves the notion of cultural appropriation. This includes criticism of New Age and modern Western forms of shamanism, which, according to Kehoe, misrepresent or dilute indigenous practices.

When I am searching for shamanism however I want to research to the core historical being of shamanism. Where the beliefs are authentic, and exist in tribes. I want to see if this still remains in the modern world today. When just simply googling shamanism or looking it up on youtube, I find theres a lot of modern information on how you can use these beliefs to improve your own life, or find your totem/power animal. In some aspects I feel it has become modernised in a commercial way, rather than realising its traditional routes.

It is thought to be the core routes and authentic shamans are becoming lost. Over the centuries tribes who were once living dependently. In many cultures, the entire traditional belief system has become endangered (often together with a partial or total language shift), the other people of the community remembering the associated beliefs and practices (or the language at all) grew old or died, many folklore memories (songs, texts) were forgotten – which may threaten even such peoples who could preserve their isolation until the middle of the 20th century, like the Nganasan.

Until the 1970s the Nganasan lived independlently. They now settle in the southern edges of the Nganasans historical nomadic routes. The current population of Ngansans in Russia counted 862 in 2002.

I then found myself researching IF and where isolated tribes, that have shamanistic beliefs still exist, and if they are effecting by the 'outside' world or if that have maintained their culture. Two that I found particularly interesting was the Yanomami Tribe and Chukchi Tribes. Both are two of the very few tribes that remain isolated and connected to their traditions in the world. Both of which are very different, but also extremely aware and respectful of living things, and the environment they live in, wanting to be sustainable.

Yanomami Tribe

Yanomami are believed to be one of the most isolated Amazon tribes today. The Yanomami people's traditions are shaped by the belief that the natural and spiritual world are a unified force; nature creates everything, and is sacred. They believe that their fate, and the fate of all people, is inescapably linked to the fate of the environment; with its destruction, humanity is committing suicide. Their spiritual leader is a shaman. Yanomami are highly dependent on the rainforests, and can be identified as foraging horticulturists. They frequently move location to avoid areas that become overused (shifting cultivation).  There as very little contact with the outside world until the 1980's where the gold rush dramatically effected the tribe, due to the spread of diseases from the workers as well as mercury poisoning. There are now organisations to help support these tribes, in order to attain tradition by being able to carrying on living and have their own rights.

http://www.survivalinternational.org/tribes/yanomami

Siberian Shamanism
Whilst it is common to think of Native Americans as the core source for shamanism, it actually stems mainly from Northern Asian, particularly Siberia. There are particular connections with the spirits, and animals particularly reindeers.

Their religious beliefs reflect the spiritual philosophy of shamanism, and their traditions often involve reindeer in several steps of the process of practising their religion.

Shirokogoroff once wrote that by being transformed into a reindeer, the shaman feels himself to be "swift, vigilant, watchful, the best animal the Tungus know."  Reindeer antlers, in particular, serve simultaneously as weapons and representations of power.
Malandra, W. W. "The Concept of Movement in History of Religions: A Religio-Historical Study of Reindeer in the Spiritual Life of North Eurasian Peoples." Numen, Vol. 14, Fasc. 1. BRILL, 1967, pp. 23–69.
Chukchi
Population: 15,000
Language: Chukchi
Religion: Native form of Shamanism

The ancient Arctic Chukchi live on the peninsula of the Chukotka. Unlike other native groups of Siberia, they have never been conquered by Russian troops. Their environment and traditional culture endured destruction under Soviet rule, by weapon testing and pollution.

“The way you treat your dog in this life determines your place in heaven”

For at least a few hundred years, the coneshaped yaranga has been the traditional home of Chukchi reindeer herders. It takes about 80 reindeer skins to build a yaranga. Nowadays, fewer and fewer Chukchi live in yarangas. The coastal Chukchi traditionally used dogsleds and skin
boats for transportation, while inland Chukchi rode in sledges pulled by reindeer. These traditional methods of transportation still survive, but are increasingly supplemented by air travel, motorboats, and snowmobiles.

Due to the harsh climate and difficulty of life in the tundra, hospitality and generosity are highly prized among the Chukchi. They believe that all natural phenomena are considered to have their own spirits. Traditional lifestyle still survives but is increasingly supplemented.

Chukchi folklore includes myths about the creation of the earth, moon, sun, and stars; tales about animals; anecdotes and jokes about foolish people; stories about evil spirits responsible for disease and other misfortunes; and stories about shamans with supernatural powers.

The Chukchi who live in the interior of the Chukchi peninsula have traditionally been herdsmen and hunters of reindeer; those who live along the coasts of the Arctic Ocean, the Chukchi Sea, and the Bering Sea have customarily hunted sea mammals such as seals, whales, walruses, and sea lions. The Chukchi call themselves the Lygoravetlat (singular:Lygoravetlan), which means "genuine people."

Chukchi religious beliefs and practices are best described as a form of shamanism. Animals, plants, heavenly bodies, rivers, forests, and other natural phenomena are considered to have their own spirits.

During their rituals, Chukchi shamans fall into trances (sometimes with the aid ofhallucinogenic mushrooms), communicate with the spirits and allow the spirits to speak through them, predict the future, and cast spells of various kinds. Chukchi shamanism suffered less than other religions from the Soviet government's antireligious policies. Since most shamanist activity took place in the home, there was no religious organization to attack, and so it was relatively easy for shamanism to survive underground.

Chukchi women traditionally wore akerker, a knee-length coverall made from reindeer or seal hide and trimmed with fox, wolverine, wolf, or dog fur. In addition to the kerker, women also wore robe-like dresses of fawn skins beautifully decorated with beads, embroidery, and fur trimmings. Men wore loose shirts and trousers made of the same materials. Both sexes wore high boots and leather undergarments. Children's clothing consisted of a one-piece fur cover-all with a flap between the legs to allow the moss that served as a diaper to be easily changed. Present-day Chukchi wear Western clothing (cloth dresses, shirts, trousers, and underclothes) except on holidays and other special occasions.

The photography was taken by Jimmy Nelson, who documents and visits many tribes around the world. I really love this photos and there is some form of intimacy in the portraits or closeness, whilst displaying and rich culture. It raises awareness of tribes and cultures that exist but we may not of seen or be exposed to frequently. http://www.beforethey.com/tribes-journeys

Sources: http://www.beforethey.com/tribe/chukchi

http://www.everyculture.com/wc/Norway-to-Russia/Chukchi.html#ixzz46pv7rk00

http://www.weyanoke.org/reading/jdf-Shamanism-NewAndOld.html
https://www.folklore.ee/folklore/vol32/siimets.pdf

It is interesting to research the traditional routes of a belief that has stretched out in so many different forms. In some aspects I feel there is a need to be more aware of traditions being removed/ affected by modern society, and how certain aspects of modern world are possible making transitions extinct. Because these tribes are living off of the world purely from its natural resources there is a reliance in those, and then a respect for natural things, particularly animals and plants. There is a cycle of spiritually giving and then taking for their own survival, and it something that most of our cultures do not consider as much. I find in the society I live in today we are constantly taking from the world, but do not do a lot to give back. Also I think we have less awareness from of the effects of our actions, because we are not rawly exposed to it (other people deal with our food, products, houses ect for us we just see the end result).

Therefore this subject I have been looking up is extremely import I believe to us all. Although I have primarily been studying animals and the meaning of those images in art, literature, history and culture, I find myself now making connection between why have these images been so important. From that I have discovered our connection with animals, and the world, the cycle of living, and have realised to some extent we are abusing this. However, there are many artists, researchers and organisations attempting to surface this subject. I think we need to in the future attain an close relationship with all living things, whether thats discovering it through bio technology, or maintaining traditions, and researching for this project has highlighted this importance. 

Testing Projections and Photos

Last week I went into the DFSA and did some practice test with projections, and projecting at different sizes onto surfaces and the material used in the photographs. I also want to try out a combination of photography, moving image and the material draping down, to give layers to the piece. These are my very first ideas, and I have to make do with using clips and tape to pin up the material, but this is the very first stage of thinking how I can use my work in a space. In some ways I want the work to have these multiple dimensions, or the photography of the physical body, the 3D animated body, and then the materials presence in person, as well as possibly having a sound layer too (however this is something I am thinking about/ developing).

Also after discussing the photos with Rosie, she said she preferred the photos that was more up close, and the subject is really pushing against the material, as the other photographs that have the material draped over her have a different feel and can almost be a different series. She suggesting maybe using some of the photos instead of displaying it as a series. This is why I am considering having one photo and one animation.

Even though the floor isn't really shiny, I really like the reflection effect it was giving. I think for my next experimentations I could possibly experiment with reflective surfaces too. Also something that I might test is projecting onto the floor or ceiling, in my next post I will put up some ideas of layout and how the projections could work.

(I apologise for the quality I only had my camera phone to take pictures.)

https://www.dropbox.com/s/79y66lwip28zw0w/20160419_165106.mp4?dl=0

https://www.dropbox.com/s/kwrhvzd9nn340um/20160419_125652.mp4?dl=0

https://www.dropbox.com/s/s1y04iv6xux0b4g/20160419_163609.mp4?dl=0

Animal Philosophy - The Status of Animality in Deleuze’s Thought

―We love nature the less humanly it behaves, and art when it is the artist‘s escape from man, or the artist‘s mockery of man, or the artist‘s mockery of himself.‖ (F. Nietzsche, The Gay Science, p379)

Animals are omnipresent in Deleuze‘s work, and throughout Deleuze and Guattari‘s common body of work: the tick‘s world, the assemblage (agencement) of the wasp and orchid, the spider‘s prehension of the fly, the cat who knows better than the human how to die, the multiplicity of the wolf, the affects of Little Hans‘ horse, spiny lobsters‘ nomadism and bird-artists. Insects, mammals, crustaceans and birds are such an integral part of Deleuzian and Deleuzo-Guattarian thought that these thinkers even created a concept in these animals‘ honor: the becoming-animal.

Deleuze connects animal life to the writers or philosophers.

Deleuze/Parnet, "A is for Animal" from RHCdG on Vimeo.

Delueze does not take appeal in domestic animals. However throughout his work there is bestiary that is quite repugnant. Deers spiders tick and fleas of a certain number of repugnant little animals of this kind. Anti-Oedipus and the concept of 'becoming animal'. The problem is not with domestic animals, but rather is with animal that are both familiar and familial. He does not care for these animals as well as tamed and domesticated. However domesticated animals that are no familiar or familial, he likes. He does not like his cat rubbing up against him, and he doesn't like the barking when he approaches dogs. There are a variety of cries in the wild but barking is truly the shame of the animal kingdom.  He can understand much better the dog howling at the moon, at death, "I can stand this better than barking".  People who have a relationship with dog and cats that is not human. "For example, you see that children do not have a human relationship with a cat, but rather an infantile relationship with animals. What is really important is for people to have an animal relationship with an animal. So what does it mean to have an animal relationship with the animal? It doesn't consist of talking to it...but in any case, I can't stand the human relationship with the animal". An example he notes is when people talk to to their pets like children or another human being.

Psychoanalysis recognises this and is so fixated on familiar or familial animals, on animals of the family, that any animal, in a dream, for example, is interpreted by psychoanalysis as being an image of the father, mother or child that is an animal as a family member. He finds it odious. But generally people who like animals don't have a human relationship with animals, they have an animal relationship with animals and thats quite beautiful. He does not like hunters those who are part of hunter club types, but hunters that have an astonishing relationship with the animal. He admires the hunters that are able to track for example, wolves using the wolfs print, these true hunters because they have the animal relationship with animals.

Spiders, ticks and fleas are just as important as animals. He strongly dislikes certain animals due to his fascination with many other animals. Every animal has a world, what is a animal world? Sometimes its extremely limited, and Deleuze takes interest in this, especially in the simplicity of a ticks life (which has 3 stages), but does not experience anything else. That is all it knows what to do. 

He is particularly interested in animal territory and then connecting this with art and philosophy. 

"The animals with territory is the beginning of art". Marking territory is just by marking with scent, glands, urine ect but it's a lot more than that: what intervenes in marking a territory is also a series of postures for example lowering oneself/lifting oneself up; a series of colours, song, posture: these are the three determinants of art color and lines animal postures are sometimes veritable lines -  that's art in its pure state. Animals recognise their partners and everything in their territory, but not outside the territory.

Interviwer: "Is there a connection with writing and the writer, and the animal?"
Deleuze: " Of course. If someone were to ask me what it means to be animal, I would answer: it's being on the lookout. It's a being fundamentally on the lookout."
Inerviewer: "Like the writer?"
Deleuze: "The writer, well, yes, on the look out, the philosopher, on the lookout, obviously, we are on the lookout. For me, you see, the ears of the animal: It does nothing without being on the look out, it's never relaxed, an animal. It's eating, [yet] has to be on the look out to see if something is happening behind its back, on either side, ect. Its terrible this existence. So you make a connection between the writer, what is the relation between the animal and the writer? ... One almost has to say that, at the limit. A writer, what is it? He writes, he writes "for" readers, of course, but what does "for" mean? It means toward them, a writer... he writes toward his readers, in a way, ...

Writers write for an audience but also in place of (he referes to someone elses work idiots, illitrate) animals.

He References Kafka Metamorphosis (which is something I will probably write about in another post).

Deleuze: The manager who cries out, "Did you hear? It sounds like an animal" the painful wailing of Gregor. Or else the mass of mice, one writes for the mass of mice, the mass of rats that are dying because, contrary to what is said, it's not men who know how to die, but animals, and when men die, they die like animals. Here we return to cats, and I have a lot of respect among the many cats that lived here, there was that little cat who died rather quickly that is, I saw what a lot of people have seen as well, how animal seeks a corner to die in. There is territory for death as well, a search for a territory of death, where one can die. We saw the little cat slide itself right into a tight corner, an angle, as if it were the good spot for it to die in. So in a sense if the writer is indeed the one who pushes language to the limit, the limit that separates language from animality, that separates a language from cry or song, then one has to say, yes, the writer is responsible to animals who die, that is, he answers to animals who die, to write, literally, not 'for' again,  I don't write "for" my dog or for my cat, but writing "in place of" animals who die ect carrying the language to this limit. There is no literature that does not carry language and syntax to this limit that separates man from animal. One has to be on this limit. Thats what I think. Even when one does philosophy thats the case. One is on the limit that separates through from non-thought. You always have to be at the limit that separates you from animality, but precisely in such a way that you are no longer separated from it. There is an inhumanity proper to the human body, and to the human mind, there are animal relations with the animal. "

Delueze believes that one of the writer's or philosopher's tasks would then be to experience and describe this link between a dying human and a dying cat, and in doing so experience the common border separating and yet also unifying humanity and animality.

My Thoughts

I feel that in his work and what he is saying there is the important connection with animals, and even respect his gives, when writing own work. However there is still some disconnection with certain types of animals and how they should be viewed/ treated. We should treat animal connections like an animal, in order to understand ourselves. It also brought attention to me that all animals have their own worlds, and this is something that should be taken into account when thinking about the world overall, and even our own worlds. There is a very well thought out system animals have, which is something us humans can take from that. A mutual respect that should be kept, rather than putting other animals on our level, or going onto theres. You have to see what separates us from animality, but in a way that we are no longer separated from it. This is an idea that contributes to my studies of animals, shaminism, from a philosophy aspect rather than just a spiritual. 

Kathy High - Becoming Animal

"What is our animal nature? Embracing Animal is a multi-media/ inter-species ersatz scientific installation of exchanges between people and animals.

In Embracing Animal, three transgenic lab rats, model HLA-B27, were given special housing and made available to the public’s view. Transgenic rats are microinjected with human DNA, allowing them to share our human genes. Transgenic rats are referred to as powerful ‘tools’ for the study of human health as they are, in many ways, physiologically close to humans." (High, 2006). Her work raises questions of What is our true animal nature? How do we identify and transform? And honoring our kinship with our transgenic animal partners.

The rats were bred with a small amount of human DNA to give them them autoimmune diseases including inflammatory bowel disease which relates closely to what autoimmune disease the artist has. "I bought them to conduct research and to treat them holistically with alternative medicines, environmental enrichment, good food, and play. I want to relate to them because I, too, have autoimmune problems. I identify with the rats and feel as though we are mirroring each other. The rats and I are all retired breeders. I feel some kind of kinship with them. If they ache when being touched, I understand this is from my own fevers. I also know that they do not know how to behave as pets. They are extensions, transformers, transitional combined beings that resonate with me in ways that other animals cannot - because of that small addition of human DNA. The rats and I are engaged in like systems and routines of health and sickness." (High, 2008:466) Over time she develops some form of connections with them, mainly from feeling isolated with them in her office.

Transanimals are a metaphor for the fabricated 'alien', and this relates to Donna Haraways OncoMouse. Donna Haraway says "OncoMouse is my sibling, and more properly , male or female, s/he is my sister. Her essence is to be a mammal, a bearer by definition of mammary glands, and a site for the operation of a transplated, human, tumor-producing gene - an oncogene - that reliablt produces breast cancer". OncoMouseis the first patented animal in the world. She makes a metaphor into a material act, as she is an invention of her natural "habitat, her scene of bodily/genetic evolution, is the techno-scientific laboratory and the regulatory institutions of a power nation-state.".

Over 95% of all laboratory research animals used in biomedical research are rodents (mice and rats) and birds. Rats, mice and birds were from excluded from the animal welfare act as it would increase costs for more regulations and more lawsuits. 

The rats were transported to a exhibition into housing that had tubes and huts, like living in a small village. The rats will be on exhibit at the museum. 

"There house will become my artwork. They will no longer be lab products, but art products, again on display, again used as research. Does this change their status in the world? They are still workers and products for sale. In fact, while they may be now considered "art objects" instead of "lab products", the fragility and unpredictability of working with these small creatures make me aware of my own fragile situation. It does that for all of us as we constantly monitor and check, discuss illnesses, and compare our own bodies to theirs."

"Though a process of empathy, and identification, and in a gesture of revolt, our act of caring for transgenic rats honours our confused relationship. Our exchange with  rats was obsessive care. We should make them live forever, cure their diseases in a real transgression, in an exchange unmeasured in power/ Their immortality will celebrate our kinship with transgenic animals and the work they do, using their body parts and ours. I will replace their body parts with mine as they continue this passage, this exchange, perpetually." (High, 2008:471)

"Modern medical imaging accomplishes what began in the eighteenth century as a desire and a search for illuminating every dark corner, especially for seeing the insides of the human body. Modern man has since been rendered somatically transparent, in gestures that extend into putting into full view not only the hidden but the ultimate microscopical, the DNA fingerprinting, the biochemical profiles, the immune cellular probes and markers." (High, 2008:471)

In her installation created an experimental playground by having the rats cages on display, while also have monitors at the bottom of reflective tubes. It was to feel the tension of exchanges, transitions and transplay, surveillance to make the unseen seen. Visitors were given the opportunity to explore and be given information into transgenic. The concepts were introduced to the public, as well as the rats which would of been unseen. "The installation honored our relationship and our kinship with transgenic animals (housing our DNA) and made them visible." (High, 2008:473). The environment in labs are very different to what Kathy exercises in her rat exhibits. Whilst the rats are confined  environments, offering limited stimulation. Because of this that do not nurture the skills to become strong and skillful, and instead develop to be even more sick despite being tested for drug research and development. The conditions of Kathy vary, as they came from clean rooms to a more dirty environment, where they were constantly engaging with the public and performing. This however proved to make them stronger. "To break from the obsessing nature of immunological disorders, and to break the innate immunological tolerance cycle, one must develop the ability to distinguish "self'from "non-self." Extending beyond our mirroring, the rats engaged with distractions, learned new relationships, and developed changing reactions that established a separation of self from non-self, which encouraged tolerance for external aggravations, and perhaps encouraged a similar immune response." (High, 2008:474). 

After the exhibition the artist took care of the rats until they died. 

Here is a exerpt of an e-mail from Dawn Hayman, animal communicator, Spring Farm Cares: postmortem telepathic conversation with the rats:

"The work that we did with people was what was important to us. Being a part of a living

exhibit was ok, sometimes stressful, but mostly ok. But the highlight of it all was introducing

people to rats in general and us in particular. . . .

 Usually, humans do not see rats in a favorable light. . . . so they do not reap the benefit of our

genius, heart, love, and observations. We live close to the planet and are aware of many things that

humans are not aware of. In the laboratory setting, of course, we are. . . separated from our natural

connection to the Earth and her vibrations. Therefore, as rats, we were also trying to reconnect to

our spiritual heritage and truth. . . . much like the humans who came to see us in our exhibit. We

are nor certain what humans learned from us, but we know that they did learn something. We

learned that humans are very closed off from the communications of nature and the Earth. Anything

we could do to help them was very good. We were glad for the time we had with you."

Transmission 

"The lab technician looks down at her hand. She is shaking. She starts sucking her middle finger, which is bleeding. The rat looks at her with a smirk. The transfer had occurred. She had succeeded. She 'd bit the hand that fed her, through the latex gloves. Punctured the skin ever so slightly and then tongued the wound. Transferring genetic material. They would then be blood sisters. Bonded. Twins." (High, 2008:476)

Burial Globes: Rat Models

The five transgenic rats she had worked with was part of her work in 2009 where their ashes were held in globes the shape of white blood cells in ordered to be remembered. "There are over 80 million lab rodents used every year in scientific research in this country alone. These pieces are symbolic gestures to ritualize their work with humans and bring us closer together – as we are all animals and sentient beings working together." (High, 2009) This piece is a very good almost resolution or reflection to her project. It aids this connection with the rats, and the importance of nurture and hospitality, as even after their death they are not treated like lab rats, but of pets or even to some extent there are parallels to how humans treat loved ones after death. The whole process down to the rats personal names (Echo, Flowers, Tara, Matilda and Star) represented that these transgenic animals where able to become more than an experiment, but as Kathy phrases its 'sisters'.

 

My Conclusion

These progressive projects discussed the importance of the kinship between us and other organisms, particularly those transgenic animals, which share a part of us with them. There is a certain attachment humans can get with other creatures through nurture, despise our unwillingness or disgust to begin with. Like humans and how our purpose on the earth has changed, so has certain animals including rats, who have a strong history of carrying disease to now helping medical developments.  It also discusses the ethics behind animal testing, and how we have conditioned them to be more ill or weak, even though we are using them to develop treatments. The rights of rats and many animals have been taken away in comparison to the animals that are under the animal welfare laws, and whilst in some experiments they are stripped away from this, High gives this right back to them and discovers how the rats become their own and develop. This project was enlightening and proved purpose to the experiment, but also the rats gained respect, and a positive connection with those involved. 

Relating to my project this is another aspect I have found interest in and explored in relation to my hybrid project, and the discovery of how artists have explored the ontological relationship between human and animals. We are animals ourselves in the sense we can share our own DNA with them, and develop a relationship, on a biological level. 

Sources

High, Kathy (2006) Embracing Animal. At: http://kathyhigh.com/project-embracing-animal.html

High, Kathy. Playing With Rats. In Costa, Beatriz da, and Kavita Philip. Tactical Biopolitics. Cambridge, Mass: MIT Press, 2008. 

High, Kathy (2009) Burial Globes: Rat Models. At: http://kathyhigh.com/project-burial-globes.html

Other Sources

http://kathyhigh.com/pdfs/writing-bio-art/High-K_TacticalBiopolitics.pdf

http://kathyhigh.com/pdfs/writing-about-kh/Hosting_The_Animal.pdf

http://kathyhigh.com/pdfs/writing-catalogs/Becoming_Animal_Interview.pdf

Hybrid Illustrations Layout

Last year I had my hybrids on screens and animated. I still want to animate them for my website, however because I have done a large number of them, and have used brighter colours, that they would look better printed and displayed either down a corridor or on a wall of a room or tiled together on a wall. 

I have been researching to what looks best, sizing and I the next day what sort of material would be best for my particular piece. I went to the printing facilities at university and looked to see what type of paper I preferred. Looking at the paper sizes I think that the best size for my portraits will be A2 although I will do practice prints this week on different paper types including matte coated and satin sheets. 

In terms of mounting I have considered using clips which are regularly used in installation exhibitions, and to some extent add to the level of playfulness to the piece. My plan for the next few days is to tidy the portraits and do some tests. Below are some reference/ inspiration images for the layout. 

In terms of putting my illustrations on the showreel, they will be on my website as animation GIFs (I will animate the eyes to blink), as I want to take advantage of the flexibility of my website. In terms of installation though print is better for such a large amount of portraits. 

A test I plan to do tomorrow when I have one of the university projectors is to create a screen where they are lined up and tiled just to project on a wall and simulate what it could look like (without having to print them out so soon). 

Sound for my installation Research

Kathleen suggested in a tutorial that I could possibly add sound to my installation, something that would replicated the sounds of surfaces being manipulated seeings I'm basing my project on the textures of bodies, but also stretching out to artificial surfaces and then the interfaces and replication on 'skins' on computers. I did some research into sound artists that use physical materials to create sound pieces, not particularly to create an narrative, but to condense a sound down to its true, or simple form. Some do create a certain atmosphere, however it is interesting to see how the movement of sound on certain materials builds on its identity and texture. 

Using sound with projection to aid the visuals.

(This post will be added too, as this aspect of the project develops)

Sources: Licht, Alan. Sound Art. New York, N.Y.: Rizzoli International Publications, 2007. Print.

Photography Project Shoot

At the time I was looking into textures of the body, and particularly the skin. Whilst connecting it to theorists such as Katherine Hayles, who theorized that they may not be a need for the physical body in the future, and our selves (even current selves) will become digitalised in some form. To me this includes our presence on the internet, and fractured identities. So I wanted to do a photography project that recognised the body and its textures and its flexibility. I think sometimes we forget the power of each layer of skin, and its vital purpose as part of ourselves.

I did research into possible materials I could use including a white sheeting, however I felt this was very flexible (stretchy) and did not represent my subject as well. Luckily in a specialist material shop I found a nylon skin coloured material which worked well.

In terms of the set up this was the first time I had coordinated a shoot and learnt to set up key lights and backdrop lights properly. I also used the light meter, and the settings on my camera to its potential, which where things I was not incredibly knowledgable previously. To get a white background I had two back lights facing reflector boards each side of the backdrop, this allows the light to bounce off the reflectors and hit the backdrop without making it over exposed or too patchy. To some extent I wanted the shoot to have a almost 'fashion' style to it, as I did not want it to appear that I was representing a more harsher subject, such as anxiety ect.

Getting the hang of using a light meter to create a more well exposed image

Before shooting the actual photography we did some lighting tests, just to see what we could achieve with this sort of set up. The image above had a really nice white background, however on the left hand side it was slightly too exposed.

I found this lighting, and settings worked a lot better.
 (I'm wearing different clothes because I got changed, it wasn't a different day!)

I had my assistants for this shoot. Mollie (Model), Shahid (Material stretcher) and Josh (Material stretcher)

So once I had experimented a bit and set everything up we got on with the shoot. I enjoyed doing it as it was fun to experiment with the body. Also last year, when I was in the studio it was modelling for Shahid's and Lucy's photography projects, so it a lot nicer to experience it from behind the camera and get a model to do my different ideas. I did have concerns that the material would not stretch very well, or in general not look good, but I was overall happy with how the images where coming together.

The result was a lot of shots! I do have some favourites as some did not come out right. The mistake I did was not regularly check the photos on the computer screen, and because of this I found that actually some of my shots were out of focus! However this has now made me be more cautious with making sure the focus and composition is perfect, and to regularly check them photos on a bigger screen whilst on set. Studio photography was something I was almost scared of and did not know how everything worked technically. Although I still have a lot to learn with photography, this has definitely made me more confident of directing and taking photography, as well as carrying out something more experimental.

Next step is to sort through all the photographs, and edit them slightly, just to polish them up and get rid of any dirt marks, or to crop them.

My overall aim for this project is to have at least 5 photos as part of a projection, and possibly even sound installation. I think this would suit an installation, as it crosses mediums within the photographs.

Photography project - Style Research

Below are some pieces both photography and sculptural, which inspired visually my photography installation. I want there to be a real focus on surfaces and its flexibility, which will then be also compared to the flexibility of artificially rendered surfaces.

NLAID SKIN : ANDREEA MANDRESCU: The inlaid pieces, due to their flexibility and ease in manipulation, can be attached and wrapped around the body. The colour and the translucent quality of the material used can give the illusion of an ‘inlaid’ skin as the surface of the accessory becomes almost one with the skin, or a three dimensional extension of the skin.

Skins by Lucy Glendinning

https://uk.pinterest.com/source/lucyglendinning.com

Scream by Maurizio Fantini

Minna Palmqvist