I have been somewhat distracted over the past couple of weeks. This is due to the fact that I got married last Saturday. However, I have been continuing with my project and was able to meet with my supervisor.
BBC Radio 4 – The Memory Experience 22nd July 200
Thursday 30th July
Meet with my supervisor
Look at ….
• Holis Frampton Nostalgia
• LUX BFI
• Book about the above
• Paul Ricoeur:- On Time & Narrative – Memory, History, Forgetting
• Aby Warburg
• Hal Foster; - Joachim Koester; Blind Spots
• Walter Benjamin; Constellations, Fragments
• FRIEZE Panel Discussion on Nostalgia (Owen Hatherley, Brian Dillon)
In publications such as Artforum, Frieze, efflux journal
1. Find a source for converting digital images to 35mm slides as back-ups
2. Write Statement
Further Key dates and Milestones I have identified: -
Mon 10th – Wed 12th August Testing projection through the proxima, creating the screen
Tues 11th Begin building my final space in W14
Mon 17th – Fri 21st Building and painting my space in W14
Mon 24th Tutorial setting up the exhibition
Thu 27th Tutorial
Mon 9th September Tutorial
Mon 14th Tutorial - exhibition set-up completed
My Full Statement
Working title :
The dissolution of now as it wilts into then
“A man's real possession is his memory; in nothing else is he rich, in nothing else is he poor." (Alexander Smith) (Scottish Poet and Essayist, 1830-1867)
Our memories are owned by us and uniquely personal, they are by nature however, not completely pure and true. The American Psychologists Richard Atkinson and Richard Shiffrin produced a technical report in 1971 with a model proposing that short-term memory lasts for only fifteen to thirty seconds. The experience of the event which has occurred is already diminishing in clarity when it is consigned to long term memory; a principle which was explored in the BBC Radio 4 series The Memory Experience, Broadcast 22nd July 2006
“It's something of an understatement to say that memory is incredibly complex. Our memories have many facets to them and don't exist as complete chunks of information nor in one specific brain region. Memories are usually made up of all sort of ingredients - take a simple stroll in the park: who were you with? What was the weather like? Where did you go? What did you wear? What did you talk about, eat, drink and smell? Were you happy or sad? Our brains can store each facet of this one memory in a different place and then bring it all together again coherently, in a blink of an eye.”
The way in which we recall an event is affected by many factors which may have been part of the original experience or may be influences which have come about in other ways and have altered our perception of what actually occurred.
The mix of processes in my practice and there significance are as follows …
6. The starting point of this project is in found analogue photographic 35mm slides, which have been processed via traditional darkroom methods.
7. Using a scanner, the analogue slides have been scanned to produce positive digital images
8. The digital images are, digitally printed onto acetate OHP transparencies which are incompatible with the inkjet printer which is used
9. The resulting acetates are used in printmaking to create new printed images on various fine and tissue papers
10. The printed tissues are hung to create a fragmented backdrop or screen onto which the original 35mm slides are projected
What element of my research does each part of my exhibited work represent?
1. The analogue photographic 35mm slides are the split second record of the actual event. The camera captures the scene before it without sentiment. The three slides have been chosen as they reveal events which occurred in my life and of which I possess varying degrees of recollection. These three original slides are representative of the short-term memory.
2. Scanning the analogue slides to produce positive digital images creates a new version of the images. They do not, however, replace the original images which, like the short-term memory remain clear and pure. By fusing old photographic method of the 60’s and 70’s with today’s digital technology the scanning process represents remembering past experiences with a mixture of what was known and understood at the time of the occurrence with the further knowledge and learning which has been gained in the intervening years.
3. This increase in learning and knowledge can influence or damage the original memory. Though the digital images almost perfectly replicate the 35mm slides on today’s computer screen, external influences such as the ink-jet printer and the surface of the acetate transparencies create a blurred image which, after a few seconds, visibly alters – with parts of the image fading and disappearing. This process is symbolic of the consignment of an experience to long-term memory in a matter of seconds.
4. The choice of transparent and tissue papers which I have used in the printmaking process is a representation of the once very real experiences becoming nostalgic, flimsy reminiscences, lacking in clarity. The three original images share some common threads such as boats, people and water. These are fragmented and jumbled up together in the printed backdrop – much as similar experiences might be jumbled up and confused in our memories.
5. The printed tissues are hung to create a fragmented backdrop or screen onto which the original 35mm slides will each be projected for approximately thirty seconds, representing the capacity of short-term memory at the time of the experience. These projected images will appear bright and clear in contrast to the vague and muddled printed images.
In addition to the two processes described above I am currently testing out a Powerpoint ©presentation which might allow spotlight illumination of certain images.
Atkinson R. C. and Shiffrin R.M. (1971) The Control Processes of Short-term Memory, Technical report 173, Stanford https://suppes-corpus.stanford.edu/techreports/IMSSS_173.pdf
Hollings, Ken (2015) Cutting Up the Cut- Up, BBC Radio 4, 24th June, 11.30am
Nora, P. (1989) Between Memory and History: Les Lieux de Mémoire. Representations Vol 26 pp 7 -24
Wise, L. (2015) The Forever Now: Contemporary Painting in an Atemporal World. Artforum. (Issue 201503), p 276
Marder, M. History, Memory, and Forgetting in Nietzsche and Derrida © 2004. Epoché, Volume 9, Issue 1 (2004).. pp. 137–157