Category: early cinema

TRACKING TIME: Book or PhD? Or both?

amanesia

Things have moved on considerably in the last few weeks.

I was interviewed for a Horizon CHI (Computer Human Interaction) PhD at Nottingham University two weeks ago. I did well to be shortlisted against stiff and much younger competition (average age 25). From the get go though it obvious that my interests were not aligned with CHI and secondly that I would not be able to work with their new corporate partners. I pitched my application to their older local community arts led model. No point crying over spilt milk….marked the end of my involvement in any kind of contemporary web/internet/computer relatedresearch.

De Capo.

NEW ROUTES:

What it did do was focus me on to what I do have an interest in and this Book proposal and possible PhD more firmly located within the Arts and Humanities area.

Here is a very rough outline of what the book may cover.

 

All dates and ideas provisional in the extreme :

cropped-tracking1.jpg

An original provisional title from 2010

TRACKING TIME; ART, TECHNOLOGY AND UTOPIA IN ENGLAND 1850-1950?

Proposed chapters .
Intro: Chalk Detonators to Concorde – The coming of the railway to the end of the line?
1. Dickens and Seymour. Railways and Illustration

2. Mr Fox Talbot and Mrs Dann: Reading’s First Female Professional Photographer and the Inventor of the calotype process.

3. Alexander Mann and the sequential image.

4. Fairground Kinemas and William Frith – Mapping Oxford a psychogeographical derive

5. Industrial film the art of industry in the Thames Valley – Rural Unions and the Co-Operative movement to Cowley Motors .

6. Rural Idyll: The Oxfordshire Railway Villages and Art Movements Blewbury, Long Wittenham and the Cotswolds.

7. Rural Presses and reactions to Modernism and Technology: Kelmscott, Cockerel Press and Communism.

8. Shooting Europe: The Spitfire Reconnaissance mapping of Germany from Beconsfield Aerodrome.

9. Atoms and Stars: The disintegrating world seen from Harwell and the DNA shuffle.11. Building the 60s Oxford and Abingdon – The Mini and The MG. The patriarchical machine.

Coda . Satellite of Love: Space -race to Boom-bust and the end of empire. Trickle down and the rise of the web..Bletchley Park to Cheltenham. News from Nowhere to News from Everywhere.

 

I also have a facebook page which may come in useful for future crowdfunding if I need to go down that road..or track:-)

https://www.facebook.com/SDBTrackingTime/

 

 

 

 

 

Gnats Again…..a story revisited.

gn1

I am revisiting a paper originally given at the Film Philosophy conference in Amsterdam in 2013.

 

The full paper is available online at Scribd here:

New PhD development: Art History and Technology

2720ALT

Stanhope Forbes 'The Quarry Team' Print. 1894

Interesting times as the Chinese philosopher said. I have officially returned to NTU School of Art and Design to teach on Animation and Graphic Design courses ….I applied for a reduction in hours to support a more intense period of PhD application but have been told not possible so have to maintain my 0.5 contract for now. If I get any PhD support from other institutions I may try again in a year’s time for reduced hours.

I am moving back towards trying to obtain a fully funded PhD. I cannot afford full funding and supporting myself but maybe can get part funded and keep teaching?

The PhD ‘path’ I considering will bring together the basic premise of the ‘ANAMNESIA’ project but maybe with more focus on the impact of Railway on arts. For now the ‘Popular Culture’ angle one I looking at most intently.

Here are some preliminary proposals:

 

I am particularly interested in the concept of ‘embedded literature’ and using illustrations and a narrative/travelogue approach in my research in the manner of W.G. Sebald and Patrick Keiller’s work with art and technology and region.

The PhD ‘paths’ I now considering below have developed out of the original Leverhulme Proposal and draws on material researched in my aborted M.A. Multimedia ‘ANAMNESIA’ project but with more focus on the impact of Railway on arts. For now the ‘Popular Culture’ angle one I looking at most intently.

The Leverhulme Proposal available online here:

http://www.scribd.com/doc/249245353/PhD-Levenhulme-Proposal

 

Possible lines of research investigation in this art history and technology area being considered are:

RSS

  1. Rain, Steam, Speed:

Art, Modernism and Technology 1840-1940.

The Railway, Radio and Telegraph in the development of Rural Artistic Communities (Networks) and Small Presses. Focusing on how ‘new technology’ created new artistic forms and communities from Dickens’s Pickwick Papers to The Cockerel Press.

team

2.‘Shifting Modes of Narrative’: Investigating illustration and sequential drawing as a response to the ‘new media’ of photography and cinema. 1836 – 1914.

Starting with Dickens illustrators and moving up to ‘Birth of Cinema’. Less regionally focussed.

talbotreading

  1. Drifting Focus 1830 – 1890:
    Kinema, photography, fine art and illustration. An investigation of new media networks in the first possibly’ Transmediale’ railway age.

Focusing on the narrative arts post ‘Railway’ and relating to contemporary definitions of networks and  ‘Transmediale’ new technologies.

Further details available online at my Transmedia Research Blog:

 

Shaun Belcher 10.07.2015

 

 

 

ANAMNESIA: Art, Technology and Modernism in the Thames Valley 1850-1950

Back to where I started..literally…..first thought best thought?

amanesia

This explains where my ‘art research’ has gone…
It not classic ‘design’ art research any more it lies somewhere along the Iain Sinclair/W.G.Sebald/Patrick Keiller line. i.e. A travelogue based exploration of the historic impact of technology on a specific geographical region. I am now working exclusively on this as my ‘written’ output alongside my poetry.
 

I no longer consider myself to be exclusively in the fine art ‘drawing research’ area.

I am now seeking full or part-funding or a receptive institution to help develop this project.

And here my first mention of ANAMNESIA in 2010:

 

Back to the futurism

In 2009 in support of my initial M.A. proposal I wrote this statement….

Nothing much changed..:-)

amanesia

Shaun Belcher November 2009

ANAMNESIA

I am a somewhat unusual case to be writing about my ‘fine art’ practice. I began life ‘post-Hornsey College of Art’ in 1981 having successfully gained a place on the Royal College M.A. in Painting but sadly was not so successful in terms of funding. I continued as a painter and printmaker until a move to Edinburgh in 1993. There I became a published poet. A return to Oxford in 1996 then saw a period of fine art mixed with song-writing.

In conventional terms this kind of genre-hopping is frowned upon as not being quite serious enough. Thankfully I have enough USA based models to not worry too much about that e.g. Musician and Architect and Fine Artist Terry Allen to name but one influence. However whatever my ‘practice’ entailed throughout this period one thing remained constant. My commitment and seriousness about what I was depicting in whatever medium.

Throughout my ‘art-working’ life some things have remained stubbornly, one might even say obsessively’ constant. Be it in digital images as recently or in drawing or poetry and song I have remained constant in delineating a clearly ‘map-able’ terrain. This terrain extends about 5 to 20 miles in radius of my hometown of Didcot in Oxfordshire, England. Always the poor relation of the illustrious centre of learning that resides but a stones throw away.

There runs a hard core of intention throughout which draws on politics, ecological thinking and that obsessive returning to notions of ‘place’ and ‘landscape’. I regard my work as being a mapping of constant themes which recur sometimes years later. The River Thames is one theme the Berkshire Downs another. Local folk tales and oral literature mined from local libraries another. A recent song ‘Hanging Puppet’ drew on one such ‘tale. In fact one could describe it as artistic ‘Anglocana’ to differentiate it from Americana. I have written well over 2000 songs over the years..Mostly these are recorded in lo-fi versions and only really coming to life when in the hands of other more talented musicians (see the Moon Over the Downs CD 2003). Poetry has appeared in various magazines and in the Scottish anthology The Ice Horses (1996). I currently have at least 4 unpublished complete books of poetry on the shelf. One could describe my work as multi-disciplinary with a strong streak of green politics colouring the waters beneath.

I have drawn on some clear influences in writing and art. Seamus Heaney’s concept of a personal ‘Hedge School’ going back to John Clare is one thread. My forebear’s personal involvement in Agricultural Unions is another (see Skeleton at the Plough poems). I also am influenced by a ‘working class’ sense of writing picked up from Carver and Gallagher and other dirty realists. In song almost any Americana act would suffice. I am not American but I have strong American influences going back to Thoreau and Walden lake. To try and build an alternative ‘English’ approach I have increasingly been drawn back to the English Civil War when the notions of science and arts were more fluid and interchangeable. I have recently purchased a reproduction of Robert Plot’s Oxford a marvellous Natural History of Oxfordshire from 1677. In it one finds specimens such as ‘Stones that look like Horses’…wonderful….

It is this kind of merging of scientific natural history and folk-lore terminology that I now most interested in. Both in poetry (see Downland Ballads) and artworks (see TRACK..2009)

So how does theory inform my practice? Well I see no distinction between the various arts. I am widely read in poetry and song and that informs my practice whatever I do. At times I have also used cartooning as an ‘art criticism’ vehicle as well as penning many art review pieces. I regard both theory and practice as being essential parts of art education and indeed my own life-long learning. One would not exist without the other.

One needs time to absorb and think not just create. I return again and again to my greatest teachers. People I did not know but who showed by example. Sorley Maclean and Norman McCaig both fine Scottish poets and the female war artist Ray Howard Jones whom I had pleasure of meeting…a friend of the artist David Jones. Wonderful inspirational people…

Victorian Transmedia – Searching for a definition?

talbotreadingThis blog contains all the media related research I have conducted since the inception of my ‘multimedia’ M.A. by registered project back in October 2010. Then the focus was on contemporary tablets and software and a geographical location. Since then I have fairly logically worked backwards towards the creation of the media culture and found myself increasingly interested in the Victorian period.

For want of a better title I have renamed the blog ‘Victorian Transmedia’.

For me the period from the invention of photography through to the birth of commercial cinema is fascinating and it where most of my attention been in terms of genuine research.

So this blog will continue to reflect my genuine interest in the impact of technology on and through the arts in the Thames Valley from about 1825 -1910 ( The Leverhulme application slightly modified that focus for funding reasons.)

I am currently consolidating this research angle into something more solid and will continue to seek support for it outside of NTU SAD.

None of this research will in future be attached to NTU and I have created a new research profile on academia edu as an independent which says it all really.

The new profile is here:

http://independent.academia.edu/ShaunDBelcher

 

 

Leverhulme bid- Proposal

Here is the sadly failed application proposal but plenty of pointers to a future PhD proposal to work with…especially in regard to the mountain of Victorian art and railway literature in my studio….

© 2017

Theme by Anders NorenUp ↑