“Becoming ‘Even More’ Rhizomatic?”
Mark Ingham | Course Leaders Away Day | 23 April 2015
“Imagine you have just landed on Earth.
You have come from a distant planet…
…in a galaxy far, far away”
Being a highly inquisitive species
you start some Exploratory Research
(Exploratory Research is undertaken when few or no previous studies exist. The aim is to look for patterns, hypotheses or ideas that can be tested and will form the basis for further research.)
Some words in a language you do not understand appear on the glowing area in front of you.
Free write about what you saw for 5 minutes
Write down as much as you can about the
film you just saw. Describe it. Analyse it. Situate it.
Whatever first comes into your head. What did it may you feel/think about?
Do not censor your thoughts.
Write continuously for 5 minutes without stopping.
If you get stuck just write down the same
word over and over and over and over again.
Through some waves that you
find out are called
you understand on Earth…
(Free Writing is the act of writing without
hesitating, and without self-censoring, accepting everything as it comes. This can help writers get started and sometimes unblock writers who are stuck. The process can yield ideas too as the writer gives up control to some extent. It has precedents in automatic writing, employed by the Surrealists, but that tended to have connotations of spiritual interventions, literally ‘ghost writing’.)
The story continues in these documents.
Photography and the Archive Research Centre (PARC) is an organisation in London that commissions new research into photography and culture, curates and produces exhibitions and publications, organises seminars, study days, symposia and conferences, and supervises PhD students. It is a part of University of the Arts London (UAL), is based at UAL’s London College of Communication at Elephant & Castle and was designated by UAL in 2003.
According to PARC’s website its activities span the history and culture of photography, particularly post-war British photography, the documentation of war and conflict, the photography of fashion and style, the visualization of the counterculture and photographers as filmmakers.
Val Williams is its director and Brigitte Lardinois its deputy director. The Centre has a core group of members including Tom Hunter, Alistair O’Neill, Patrick Sutherland, Wiebke Leister, Jennifer Good (née Pollard), David Moore, Paul Lowe, Corinne Silva, Paul Tebbs, Mark Ingham, Martina Caruso, Peter Cattrell, Monica Biaglioli, Anne Williams, Jananne Al-Ani, Sophy Rickett, Joanna Love and Sara Davidmann. Current staff are Corinne Silva (Research Fellow), Robin Christian (Projects Manager) and Melanie King (Research Administrator).
Many of PARC’s activites are conducted in conjunction with other arts organisations and universitities including University of Sunderland, National Media Museum in Bradford, Library of Birmingham, Canterbury Christ Church University, Street Level Photoworks in Glasgow, Wolverhampton Art Gallery, Ffotogallery in Cardiff, Imperial War Museum in London, Photoworks in Brighton, University of Western Ontario in Canada, Expressions of Humankind and Max Ström publishers in Stockholm, Sune Jonsson Archive in Umea, Tate Modern and University of Wales, Newport.
Two of PARC’s divisions are War and Conflict Research Hub and Photography and the Contemporary Imaginary Research Hub.
PARC publishes Fieldstudy twice yearly, both in print and online, covering projects from PARC’s staff, members and students.
PARC and Bloomsbury co-host the journal Photography & Culture, co-edited by Kathy Kubicki, Thy Phu and Val Williams, published three times a year by Berg.
PARC leads the Directory of Photographic Collections in the UK, a portal to UK institutions holding publicly accessible photographic collections.
PARC currently houses three collections within its archive, ‘Camerawork’, ‘Photography Exhibition Posters’ and ‘The John Wall archive of the Directory of British Photographic Collections in the UK’. ‘Photography Exhibition Posters’ is a collection of over 300 posters dating back to the 1970s that features examples of partnerships between designers and galleries. The ‘Camerawork’ collection includes papers and objects from the Half Moon Photography Workshop and Camerawork’s early years, publication and touring exhibition programme. ‘The John Wall archive of the Directory of British Photographic Collections in the UK’ includes correspondence, research papers and file cards of this 1970s project.
‘120 Days and Nights of Staggering and Stammering: Installation shots (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)
‘120 Days & Nights of Staggering & Stammering: Red Square Pet Heaven’ (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)
‘120 Days & Nights of Staggering & Stammering: All the Fun of the Family’ (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)
‘120 Days and Nights of Staggering and Stammering’ (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)
“My first job, I was in house at a fur company, with this old pro copyrighter, a Greek named Teddy.
And Teddy told me the most important idea in advertising is “new”. Creates an itch.
You simply put your product in there as a kind of … calamine lotion.
He also talked about a deeper bond with the product.
It’s delicate … but potent.
Teddy told me that in Greek, nostalgia literally means the pain from an old wound.
It’s a twinge in your heart far more powerful than memory alone.
This device isn’t a spaceship.
It’s a time machine.
It goes backwards, forwards.
It takes us to a place where we ache to go again.
It’s not called the Wheel.x
It’s called the Carousel.
It lets us travel the way a child travels.
Around and around and back home again…x
to a place where we know we are loved.”
– From Mad Men, Season One, Episode 13, “The Wheel”
In this scene, Don Draper (Jon Hamm) gives his advertising pitch to Kodak for their new slide projector, which they have not named yet.
A display about memory at the Dittrick medical history center (1966)
Now at the College of Arts & Sciences of Case Western Reserve University in Cleveland, Ohio
“The magical power of the projected image is unique to the medium.
A beam of light, thrown out from the slide or film projector, bears sequences of images
that reconstitute and take form when the light meets an opaque surface.
Projected images are at once solid and transparent…
The beam of light is a powerful sign of memory and the visual imagination.
It transmits ghost images, figures that live only through the power of the projective
apparatus and die as the picture vanishes. Projected in darkness, the cone of light
traces the genesis of the images from projector to screen.
It is spellbinding and full of promise”
“Mark Ingham‘s incredible installation, 120 Days and Nights of Staggering and Stammering,
is designed from 120 SLR film cameras and LED spotlights. Each of these handmade projectors
will display images taken before and during the installation, as well as audience-donated images.
Regardless of where Ingham’s piece is installed, the end result will reflect the experience
of the viewer within it.”
“A concept is a brick. It can be used to build a courthouse of reason.
Or it can be thrown through the window.”
“Gilles Deleuze & Felix Guattari (A Thousand Plateaus: Capitalism and Schizophrenia. p xiii)
“Technology is not neutral. We’re inside of what we make, and it’s inside of us.
We’re living in a world of connections —
and it matters which ones get made and unmade.”
Donna Haraway (A Cyborg Manifesto. pp.149-181)
“We have to see creation as tracing a path between impossibilities.”
Gilles Deleuze (Negotiations? & Essays Critical and Clinical. p x|viii)
“Art struggles with chaos but it does so in order to render it sensory….” (Watteau)
Gilles Deleuze and Felix Guattari. (What is Philosophy? p205)
“Break a vase, and the love that reassembles the fragments is stronger than that love
which took its symmetry for granted when it was whole.”
Derek Walcott (The Antilles: Fragments of Epic Memory. Nobel Lecture .1992)
Picturing Propaganda: A Study Day
When: Sat 1 Jun 2013, 10.00-16.30
Where: Conference Centre, British Library
Price: £25 / £15 concessions
Effective propaganda relies as much on images as it does on words. This study day will explore the role of visual communication in influencing ideas and changing behaviour. Academics and curators will discuss the history of visual propaganda, using fascinating (and sometimes funny) examples from the British Library and British Film Institute collections. The event is aimed at students, researchers and anyone with an interest in 20th century history, design, film or communication studies. Entry to the exhibition is included in the price.
The morning session will give a brief history of visual propaganda, discussing film, posters, leaflets, maps, stamps and more. The afternoon session will focus on three themes that dominate 20th century propaganda: nation-building, health and war. Our speakers will explore the different ways that these themes have been dealt with in the last century, comparing the methods of propaganda and the public response.
In collaboration with the BFI
Quorum, 29 May, Dave Beech
We warmly invite you to join us for QUORUM on Wednesday 29 May.
Dave Beech, Chelsea College of Art, will present his paper entitled
‘Spreading The Cost Disease: Handicraft and Art’s Economic Exceptionalism’.
Where: Rehearsal Room 1, Arts One, Queen Mary, University of London, Mile End Campus
When: 5:15 Wednesday 29 May
I will be developing the ideas of Baumol and Bowen, whose 1966 book ‘Performing Arts: The Economic Dilemma’ introduced the idea of the ‘cost disease’. This argument has been expanded recently by Baumol in his book on the cost disease of health and education. I will be asking whether the cost disease is an example of art’s ‘economic exceptionalism’.
Dave Beech is an artist in the collective Freee. The group exhibited at the Liverpool biennial in 2010 and has been selected for the Istanbul biennial in 2013, as well as exhibiting at BAK as part of the Former West project, Vittoria, Smart Project Space and Culturegest. He co-curated the exhibition ‘We Are Grammar’ at Pratt Institute, NY and edited the book ‘Beauty’ for Whitechapel/MIT. He teaches at Chelsea College of Art and is currently writing a book on art and economics for the Historical Materialism Book Series.