A 4: Preparation

A 4: Preparation

Brief: Assignment Four: Major Project Edit

Make another submission of work in progress as a tightly edited, sequenced series. You may have continued to shoot; you may have changed direction sinceyour last feedback report. However your project has developed, make the development clear in the image selection.

Pay particular attention to how you will use words alongside your images (captions, titles or additional ‘relay’ type text) and re-frame your images accordingly.

As in previous assignments, include a short commentary outlining the development of your ideas during your work on this part of the course.

Before you submit your work, refresh your understanding of the assessment criteria for this course and make sure that your assignment submission is in line with the criteria.

A 4: Preparation

1. Introduction

This has been a very different preparation for this module than what I have done before, because I normally write this text as the project happens then edit it down at the end, and my tutor has suggested a new approach using ‘Padlet.’ This is a much more visual way of doing things although there are some issues about the form of the output which will be needed for assessment.

Reflections before summarising how I developed A4

  • ‘Too many images:’ Dan Robinson said to me at my pre-assessment interview, that “The problem will be stopping you from doing too much rather than you creating too little.’ I think that is my instinct to experiment and produce plenty of work. This feeling as been compounded by autoethnographic images from A1-A3 where there are images from my archive, family album, home, surgery and work area as I explore what it is to to respond to Covid as a GP.
  • ‘Sequencing is difficult:‘ I have now created several series. I think that this is the most complex and difficult thing that I have done during this module. My tutor advised me on the principles used by Jorg Colberg of ‘dispassionate sequencing,’ and I did try printing and pinning my images to boards around my home, but it was not until A4 and the ‘Smashing’ Series where I had a breakthrough. The images there are connected on ‘form’ primarily, and not on my feelings about the images, and because of that I will re-sequence ‘The Clinic’ and other work as needed. I think my tutor is going to help me with this.
  • ‘Experimentation:’ I am glad of the push by my tutor to experiment with ‘chance’ Dada and Surrealism as a starting point for new piece of work for A4 such as the ‘Smashing’ and ‘Assemblages’ Series. Who would have thought that the image of a shattered flagstone would produce that new series. A new element Gary introduced was a padlet to develop new experiments, which resulted in the development of the ‘Assemblage’ Series (see later). The padlet was also used to create a timeline of the project up to the end of A4.
  • ‘Synergy with contextual studies:’ The title of CS A4 is ‘Challenging medical dominance in visual culture: a discourse analysis.’ My Tutor (Ariadne) and have agreed a framework which references ideas on power relations by Foucault. My work reflects this and ‘Assemblages’ exemplifies this challenge. I feel much more comfortable about this BOW in the light of my CS direction.
  • ‘The relationship with my tutor:’ My tutor wants things to be succinct, and I have fought against that for a lot of the project and printed too much material. With his guidance my submission are shorter but tighter. At the start of A4 Gary gave me lots of ideas about experimentation and I wondered if this was becoming his rather than my project, but the responses (which I did not expect) have been fruitful and I have produced them with his stimulus. Perhaps that is nature of collaboration, in that each offers of their knowledge and experience, and what is expected in their separate roles. I would not be where I am without Gary’s guidance.

2. Taking ‘Chance’ images

I had read the notes in the OCA handbook about the role of ‘chance’ in photography, but it was Gary that suggested trying something different and then feeding back in between submissions.

I took my Fuji x100 with me everywhere I went for a week and uploaded the images. The one that stood out was of a shattered new flagstone in the care park of a hospital that I was visiting. It spoke to me of shattered lives – my own – I had just had a heart attack, and the impact of Covid on me, my sister in the mental hospital and society. So many lives destroyed, and a loos of confidence in government to direct us.

Shattered flagstone

I had looked at my iPhone and LR archive about covid which I had been keeping since March 2020 and the start of the pandemic. Some of those images found their way into the series in A2 and A3. This time I looked also examined my family album for images that contrasted or complemented what I could see. For example, my match in the below series for that flagstone image is of some shattered cups photographed in 2016 for another module, the next one is of dirty snow near Sapporo in Japan, the next snow from my car in 2015 to a friends party etc.

I think that for the first time I understood Jorg Colberg’s ideas about sequencing and about standing back and having a dispassionate dialogue between the images. I like what I have produced – for the first time.

Chance’ Series in LR

‘Chance’ Series in LR

3. Using the Padlet to develop other new work

OCA Formative Feedback on A3: From Tutor

“Surrealist subversion tradi*on: I am thinking in par*cular of how we can make a ‘u*litarian’ object related to your work and then make it appear useless. Is there something more photographic and subversive you can rathe than overt ac*on – this is good (I am with you!) but as an ar*st unless you are making a postmodern performance pice (you might be) then documen*ng it is there a way you can use certain strategies to show the destruc*on of an image of a computer (or work related/ Covid power structure related image of something?)

I am particularly thinking here of the work of the Dada and Surrealists and found objects as part of an assemblage. in particular Man Ray and Marcel Duchamp’s playful found objects or the documentas on of material object combinations which were then destroyed (or dissevered or were cleaned) such as The Bride Stripped Bare by Her Bachelors, Even, most o_en called The Large Glass, (1915 to 1923), Dust, Breeding (1920) Compass (1920). A_er making the exposure, Man Ray characteris*cally disassembled the magnet-and-pistol device, leaving only this single original print as the reminder of a provoca*ve Dada idea.

Bibliography

My reactions

Initially when I looked at art made on found objects, based on psychotherapy and ready made art I was not clear how I might progress that. The image Mr and Mrs Fork by Man Ray led me to Sarah Lucas and others who are saying things about gender and sexuality using found staged objects. I could see that I could do something that looks more like Man Ray but speaks to wider power issues which are growing larger in the research and writing (Foucault) for CS.

Gary suggested using Padlet to take this further and he put a few key ideas on the padlet – from my work and his suggestions, and we talked about experimenting producing new images to put on the padlet. I proceeded with my list of ideas for an assemblage series around challenging power relations in covid.

LIST 1: ‘Acerbic – experimental assemblages Group 1: / found or uncanny images’

  1. Dom labelled wine. Glasses.
  2. Computer. Crushed or barbels and weights on top or stethoscope.
  3. Pile of numbers. 125K. 25K. 35B. From child’s building blocks
  4. Brochure. Kent. India. Brazil. China. Sunglasses
  5. Skip. Ashes. Nursing home sign.
  6. Protection – PPE – 
  7. Diagram (meaningless) – Bleach.
  8. Mask box. Treatment antibiotic. 
  9. Vaccine vial. Mask. Gloves. Syringe. Dinner plate.
  10. Home – workplace
  11. Hammer – gloves
  12.  Mask with broken glass (the uncanny)
  13. TV and hazard tape covering completely
  14. Breadmaker. Packaged bread.

I very quickly made images in my home to illustrate ideas. I was not happy with these ‘sketches’ and went back with a new list of ideas and new images shot in daylight with some added lighting in my home studio.

LIST NO 2: ‘Assemblege ideas Group No 2: Key reference Sarah Lucas – my theme Covid.’

1. Mr Handle and Mrs Lock – both covered in biohazard tape

2.     Illumination – pile of ash and small medical torch and unused huge torch

3.     Tension – two entwinded stethescopes stretched

4.     Rubbish – Huge pile of PPE and tiny toy bucket

5.     Breathe – Room fan and sats monitor

6.     A question of numbers – Childs toy blocks with numbers of deaths and cost of Test and Trace etc next to picture of elephents etc

7.     His Masters Voice – model of ‘Nipper’ of HMV fame between two union jack flags ? lecturn or gramaphone

8.     Weight – sledgehammer and pile of NHS tools from my bag

9.     Home sweet home – laptop with tablaeu of home objects arranged on top – flowers, toy, cushion saying love etc

10.  ? meaning. Flash and school bell.

11.  Face-off – Face screen andsund screen

12.  ? What else – pasta and amazon box

Populated padlet

‘Final images’

The second lot of images produced on the site are much sharper https://oca.padlet.org/garryclarkson/4dvzea8d69hglj8o I have hesitated in giving the images labels here as I wanted them to speak to my tutor rather than be obvious with anchoring text.

Assemblage series from Padlet

􏰋􏰚􏰚􏰝􏰄􏰗􏰜􏰕􏰗􏰃 􏰤􏰂􏰙􏰅􏱼 􏰪􏰆􏱧􏰂􏰅There are issues here in the images using natural light which changed in colour during the day. I could not totally correct it in PS or LR so I will close my studio curtains and do it all with added light, probably setting my camera WB and Neo lights to 5Kelvin – they were set to 5250K for this shoot. I will do that for A5. I think that this, with some new images and reworked others will create a strong series.

3. Project editing

I realise that a key theme for this assignment is reviewing the work and selecting what to develop further. I think that Gary is more aware of it than me and I have been uncertain about what to include and what not to. I think that my tutor is correct that it is ‘multimodal,’ but that brings the challange of bringing things into a creative whole and being able to show the evolution and development of the project to an examiner.

I decided to create a timeline of critical change for my

https://padlet.com/morris5137481/1k33whnsvbf8gqe9 TIMELINE PADLET

Padlet timeline of critical thinking and actions for project up to now

􏰋􏰚􏰚􏰝􏰄􏰗􏰜􏰕􏰗􏰃 􏰤􏰂􏰙􏰅􏱼 􏰪􏰆􏱧􏰂􏰅 􏰀Gary encouraged me to bring it up to a standard that is could be used in my exam submission. That is largely about labelling how to navigate the various elements. The labelling is limited There are limits options for exporting this to edict further – as a PDF but will continue with that and see what is possible.

This process is an interactive process which stops now in this post but which will continue into A5 and maybe further.

What need to be done?

  • Re-shooting what needs to be re-shot
  • Fabricating my dodecahedron
  • Thinking about labels
  • Testing out the work with my OCA peers – I have done that with one set by there are other things that may be ready to show
  • Deciding what is rejected
  • Deciding what and how to present

A5 is going to be quite busy as my Tutor and I contrain or expand what I have.

􏱖􏱈􏰩􏰴 􏱈􏱅􏰷􏰸􏰹􏰴􏱄 􏰪􏱆􏱇􏱁􏱀􏰪􏰪􏱀􏰷􏱅 􏰷􏱂 􏱃􏰷􏱄􏰩 􏱀􏱅 􏱉􏱄􏰷􏰞􏱄􏰴􏰪􏰪 􏱈􏰪 􏱈 􏰸􏱀􏰞􏰹􏰸􏰳􏱊 􏰴􏱋􏱀􏰸􏰴􏱋􏰺 􏰪􏰴􏱤􏱆􏰴􏱅􏰵􏰴􏱋 􏰪􏰴􏱄􏱀􏰴􏰪􏱎 􏰔􏰷􏱆 􏱁􏱈􏱊 􏰹􏱈􏱕􏰴 􏰵􏰷􏱅􏰸􏱀􏱅􏱆􏰴􏱋 􏰸􏰷 􏰪􏰹􏰷􏰷􏰸􏱿 􏱊􏰷􏱆 􏱁􏱈􏱊 􏰹􏱈􏱕􏰴 􏰵􏰹􏱈􏱅􏰞􏰴􏱋 􏱋􏱀􏱄􏰴􏰵􏰸􏱀􏰷􏱅 􏰪􏱀􏱅􏰵􏰴 􏱊􏰷􏱆􏱄 􏰳􏱈􏰪􏰸 􏱂􏰴􏰴􏱋􏱇􏱈􏰵􏰩 􏱄􏰴􏱉􏰷􏱄􏰸􏱎 􏱠􏰷􏱃􏰴􏱕􏰴􏱄 􏱊􏰷􏱆􏱄 􏱉􏱄􏰷􏱥􏰴􏰵􏰸 􏰹􏱈􏰪 􏱋􏰴􏱕􏰴􏰳􏰷􏱉􏰴􏱋􏰺 􏱁􏱈􏰩􏰴 􏰸􏰹􏰴 􏱋􏰴􏱕􏰴􏰳􏰷􏱉􏱁􏰴􏱅􏰸 􏰵􏰳􏰴􏱈􏱄 􏱀􏱅 􏰸􏰹􏰴 􏱀􏱁􏱈􏰞􏰴 􏰪􏰴􏰳􏰴􏰵􏰸􏱀􏰷􏱅􏱎

􏱛􏱈􏱊 􏱉􏱈􏱄􏰸􏱀􏰵􏱆􏰳􏱈􏱄 􏱈􏰸􏰸􏰴􏱅􏰸􏱀􏰷􏱅 􏰸􏰷 􏰹􏰷􏱃 􏱊􏰷􏱆 􏱃􏱀􏰳􏰳 􏱆􏰪􏰴 􏱃􏰷􏱄􏱋􏰪 􏱈􏰳􏰷􏱅􏰞􏰪􏱀􏱋􏰴 􏱊􏰷􏱆􏱄 􏱀􏱁􏱈􏰞􏰴􏰪 􏰱􏰵􏱈􏱉􏰸􏱀􏰷􏱅􏰪􏰺 􏰸􏱀􏰸􏰳􏰴􏰪 􏰷􏱄 􏱈􏱋􏱋􏱀􏰸􏱀􏰷􏱅􏱈􏰳 􏱔􏱄􏰴􏰳􏱈􏱊􏱓 􏰸􏱊􏱉􏰴 􏰸􏰴􏱒􏰸􏰿 􏱈􏱅􏱋 􏱄􏰴􏱘􏱂􏱄􏱈􏱁􏰴 􏱊􏰷􏱆􏱄 􏱀􏱁􏱈􏰞􏰴􏰪 􏱈􏰵􏰵􏰷􏱄􏱋􏱀􏱅􏰞􏰳􏱊􏱎

􏰲􏰪 􏱀􏱅 􏱉􏱄􏰴􏱕􏱀􏰷􏱆􏰪 􏱈􏰪􏰪􏱀􏰞􏱅􏱁􏰴􏱅􏰸􏰪􏰺 􏱀􏱅􏰵􏰳􏱆􏱋􏰴 􏱈 􏰪􏰹􏰷􏱄􏰸 􏰵􏰷􏱁􏱁􏰴􏱅􏰸􏱈􏱄􏱊 􏰷􏱆􏰸􏰳􏱀􏱅􏱀􏱅􏰞 􏰸􏰹􏰴 􏱋􏰴􏱕􏰴􏰳􏰷􏱉􏱁􏰴􏱅􏰸 􏰷􏱂 􏱊􏰷􏱆􏱄 􏱀􏱋􏰴􏱈􏰪 􏱋􏱆􏱄􏱀􏱅􏰞 􏱊􏰷􏱆􏱄 􏱃􏰷􏱄􏰩 􏰷􏱅 􏰸􏰹􏱀􏰪 􏱉􏱈􏱄􏰸 􏰷􏱂 􏰸􏰹􏰴 􏰵􏰷􏱆􏱄􏰪􏰴􏱎

􏱚􏰴􏱂􏰷􏱄􏰴 􏱊􏰷􏱆 􏰪􏱆􏱇􏱁􏱀􏰸 􏱊􏰷􏱆􏱄 􏱃􏰷􏱄􏰩􏰺 􏱄􏰴􏱂􏱄􏰴􏰪􏰹 􏱊􏰷􏱆􏱄 􏱆􏱅􏱋􏰴􏱄􏰪􏰸􏱈􏱅􏱋􏱀􏱅􏰞 􏰷􏱂 􏰸􏰹􏰴 􏱈􏰪􏰪􏰴􏰪􏰪􏱁􏰴􏱅􏰸 􏰵􏱄􏱀􏰸􏰴􏱄􏱀􏱈 􏱂􏰷􏱄 􏰸􏰹􏱀􏰪 􏰵􏰷􏱆􏱄􏰪􏰴 􏱈􏱅􏱋 􏱁􏱈􏰩􏰴 􏰪􏱆􏱄􏰴 􏰸􏰹􏱈􏰸 􏱊􏰷􏱆􏱄 􏱈􏰪􏰪􏱀􏰞􏱅􏱁􏰴􏱅􏰸 􏰪􏱆􏱇􏱁􏱀􏰪􏰪􏱀􏰷􏱅 􏱀􏰪 􏱀􏱅 􏰳􏱀􏱅􏰴 􏱃􏱀􏰸􏰹 􏰸􏰹􏰴 􏰵􏱄􏱀􏰸􏰴􏱄􏱀􏱈􏱎

􏰔􏰷􏱆􏱄 􏰸􏱆􏰸􏰷􏱄 􏱁􏱈􏱊 􏰸􏱈􏰩􏰴 􏱈 􏱃􏰹􏱀􏰳􏰴 􏰸􏰷 􏰞􏰴􏰸 􏱇􏱈􏰵􏰩 􏰸􏰷 􏱊􏰷􏱆 􏰪􏰷 􏰵􏰷􏱅􏰸􏱀􏱅􏱆􏰴 􏱃􏰷􏱄􏰩􏱀􏱅􏰞 􏰷􏱅 􏱊􏰷􏱆􏱄 􏱉􏱄􏰷􏱥􏰴􏰵􏰸 􏱃􏰹􏱀􏰳􏰴 􏱊􏰷􏱆􏱓􏱄􏰴 􏱃􏱈􏱀􏰸􏱀􏱅􏰞􏱎

􏰀􏰅􏰂􏱧􏰕􏰖􏰃 􏰯􏰍􏰝􏰃

􏱖􏱈􏰩􏰴 􏱈􏱅􏰷􏰸􏰹􏰴􏱄 􏰪􏱆􏱇􏱁􏱀􏰪􏰪􏱀􏰷􏱅 􏰷􏱂 􏱃􏰷􏱄􏰩 􏱀􏱅 􏱉􏱄􏰷􏰞􏱄􏰴􏰪􏰪 􏱈􏰪 􏱈 􏰸􏱀􏰞􏰹􏰸􏰳􏱊 􏰴􏱋􏱀􏰸􏰴􏱋􏰺 􏰪􏰴􏱤􏱆􏰴􏱅􏰵􏰴􏱋 􏰪􏰴􏱄􏱀􏰴􏰪􏱎 􏰔􏰷􏱆 􏱁􏱈􏱊 􏰹􏱈􏱕􏰴 􏰵􏰷􏱅􏰸􏱀􏱅􏱆􏰴􏱋 􏰸􏰷 􏰪􏰹􏰷􏰷􏰸􏱿 􏱊􏰷􏱆 􏱁􏱈􏱊 􏰹􏱈􏱕􏰴 􏰵􏰹􏱈􏱅􏰞􏰴􏱋 􏱋􏱀􏱄􏰴􏰵􏰸􏱀􏰷􏱅 􏰪􏱀􏱅􏰵􏰴 􏱊􏰷􏱆􏱄 􏰳􏱈􏰪􏰸 􏱂􏰴􏰴􏱋􏱇􏱈􏰵􏰩 􏱄􏰴􏱉􏰷􏱄􏰸􏱎 􏱠􏰷􏱃􏰴􏱕􏰴􏱄 􏱊􏰷􏱆􏱄 􏱉􏱄􏰷􏱥􏰴􏰵􏰸 􏰹􏱈􏰪 􏱋􏰴􏱕􏰴􏰳􏰷􏱉􏰴􏱋􏰺 􏱁􏱈􏰩􏰴 􏰸􏰹􏰴 􏱋􏰴􏱕􏰴􏰳􏰷􏱉􏱁􏰴􏱅􏰸 􏰵􏰳􏰴􏱈􏱄 􏱀􏱅 􏰸􏰹􏰴 􏱀􏱁􏱈􏰞􏰴 􏰪􏰴􏰳􏰴􏰵􏰸􏱀􏰷􏱅􏱎

􏱛􏱈􏱊 􏱉􏱈􏱄􏰸􏱀􏰵􏱆􏰳􏱈􏱄 􏱈􏰸􏰸􏰴􏱅􏰸􏱀􏰷􏱅 􏰸􏰷 􏰹􏰷􏱃 􏱊􏰷􏱆 􏱃􏱀􏰳􏰳 􏱆􏰪􏰴 􏱃􏰷􏱄􏱋􏰪 􏱈􏰳􏰷􏱅􏰞􏰪􏱀􏱋􏰴 􏱊􏰷􏱆􏱄 􏱀􏱁􏱈􏰞􏰴􏰪 􏰱􏰵􏱈􏱉􏰸􏱀􏰷􏱅􏰪􏰺 􏰸􏱀􏰸􏰳􏰴􏰪 􏰷􏱄 􏱈􏱋􏱋􏱀􏰸􏱀􏰷􏱅􏱈􏰳 􏱔􏱄􏰴􏰳􏱈􏱊􏱓 􏰸􏱊􏱉􏰴 􏰸􏰴􏱒􏰸􏰿 􏱈􏱅􏱋 􏱄􏰴􏱘􏱂􏱄􏱈􏱁􏰴 􏱊􏰷􏱆􏱄 􏱀􏱁􏱈􏰞􏰴􏰪 􏱈􏰵􏰵􏰷􏱄􏱋􏱀􏱅􏰞􏰳􏱊􏱎

􏰲􏰪 􏱀􏱅 􏱉􏱄􏰴􏱕􏱀􏰷􏱆􏰪 􏱈􏰪􏰪􏱀􏰞􏱅􏱁􏰴􏱅􏰸􏰪􏰺 􏱀􏱅􏰵􏰳􏱆􏱋􏰴 􏱈 􏰪􏰹􏰷􏱄􏰸 􏰵􏰷􏱁􏱁􏰴􏱅􏰸􏱈􏱄􏱊 􏰷􏱆􏰸􏰳􏱀􏱅􏱀􏱅􏰞 􏰸􏰹􏰴 􏱋􏰴􏱕􏰴􏰳􏰷􏱉􏱁􏰴􏱅􏰸 􏰷􏱂 􏱊􏰷􏱆􏱄 􏱀􏱋􏰴􏱈􏰪 􏱋􏱆􏱄􏱀􏱅􏰞 􏱊􏰷􏱆􏱄 􏱃􏰷􏱄􏰩 􏰷􏱅 􏰸􏰹􏱀􏰪 􏱉􏱈􏱄􏰸 􏰷􏱂 􏰸􏰹􏰴 􏰵􏰷􏱆􏱄􏰪􏰴􏱎

􏱚􏰴􏱂􏰷􏱄􏰴 􏱊􏰷􏱆 􏰪􏱆􏱇􏱁􏱀􏰸 􏱊􏰷􏱆􏱄 􏱃􏰷􏱄􏰩􏰺 􏱄􏰴􏱂􏱄􏰴􏰪􏰹 􏱊􏰷􏱆􏱄 􏱆􏱅􏱋􏰴􏱄􏰪􏰸􏱈􏱅􏱋􏱀􏱅􏰞 􏰷􏱂 􏰸􏰹􏰴 􏱈􏰪􏰪􏰴􏰪􏰪􏱁􏰴􏱅􏰸 􏰵􏱄􏱀􏰸􏰴􏱄􏱀􏱈 􏱂􏰷􏱄 􏰸􏰹􏱀􏰪 􏰵􏰷􏱆􏱄􏰪􏰴 􏱈􏱅􏱋 􏱁􏱈􏰩􏰴 􏰪􏱆􏱄􏰴 􏰸􏰹􏱈􏰸 􏱊􏰷􏱆􏱄 􏱈􏰪􏰪􏱀􏰞􏱅􏱁􏰴􏱅􏰸 􏰪􏱆􏱇􏱁􏱀􏰪􏰪􏱀􏰷􏱅 􏱀􏰪 􏱀􏱅 􏰳􏱀􏱅􏰴 􏱃􏱀􏰸􏰹 􏰸􏰹􏰴 􏰵􏱄􏱀􏰸􏰴􏱄􏱀􏱈􏱎

􏰔􏰷􏱆􏱄 􏰸􏱆􏰸􏰷􏱄 􏱁􏱈􏱊 􏰸􏱈􏰩􏰴 􏱈 􏱃􏰹􏱀􏰳􏰴 􏰸􏰷 􏰞􏰴􏰸 􏱇􏱈􏰵􏰩 􏰸􏰷 􏱊􏰷􏱆 􏰪􏰷 􏰵􏰷􏱅􏰸􏱀􏱅􏱆􏰴 􏱃􏰷􏱄􏰩􏱀􏱅􏰞 􏰷􏱅 􏱊􏰷􏱆􏱄 􏱉􏱄􏰷􏱥􏰴􏰵􏰸 􏱃􏰹􏱀􏰳􏰴 􏱊􏰷􏱆􏱓􏱄􏰴 􏱃􏱈􏱀􏰸􏱀􏱅􏰞􏱎