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:
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:
This just to clarify…my research has previously had two sides to the story…and no bodies wrapped in plastic ..yet…
DRAWING: Comics and Graphic Novels Research
Firstly an M.A. in Fine Art exclusively concerned with drawing and presenting analysis of art research methodology in sequential drawings.
This and associated papers/ outcomes contained herein: http://www.shaunbelcher.com/research/
This developed out of a scurious cartoon art dog called Moogee’s adventures in the Fine Art World: http://www.shaunbelcher.com/moogee
UPDATE June 2016: This work is now coming to fruition as Freelance Design and comic illustration under
FLYIN SHOES ARTS U.K.
MOOGEE THE DOODLE DOG
HISTORY OF ART AND TECHNOLOGY
Following an aborted M.A. in Multimedia which changed into a Fine Art M.A. in drawing I became interested in the notion of the rise of Victorian Technology and Illustration as a early distribution network or web. Specifically I began looking at early photography and film and its influences and cross-currents with fine art especially illustration.
This led to the work here and papers linked below (one purely visual until I finally write up).
This led to a Leverhulme PhD Funding Submission through BIAD in 2014 which was a group submission and unsuccessful around idea of Railway as a instigator of artistic practice.
I recently investigated these possible ideas again. It may be possible to link two areas together via a graphic narrative format.
I have also recently used a poetry narrative to describe a Photographer’s Equipment and its technological changes for RIBA
I have just discovered David Trotter’s work ‘Literature in the First Media Age’ which seems perfect match for what I trying to do.
(UPDATE June 2016: This route may come to fruition in an Art History/Literature/Music PhD as that the area I now consider myself to be operating in and which best match for interests)
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:
Possible lines of research investigation in this art history and technology area being considered are:
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.
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.
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
Back to where I started..literally…..first thought best thought?
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:
Apples and Snakes have posted the recordings of myself reading the Edwin Smith/RIBA commission.
In many ways this more Transmedia than poetry.
I deliberately use archive images, redundant technology and pseudo-referencing.
Inspired by Edwin Smith’s photograph, ‘Camden Town Bedroom,’ Belcher’s poem uses vivid imagery to explore the theme of light. Visit the RIBA website for more info: bit.ly/13HN1tf
This post was originally posted on this blog in 2011!
Interesting how much of it now relevant again…
The following passage was taken from “DEEP MAPPING:” A brief Introduction by Iain Biggs.
The concerns of deep mapping in its visual and performing arts manifestations are best indicated by Clifford McLucas’ text There are ten things that I can say about these deep maps. For McLucas deep maps appear in the interaction between three basic elements: graphic or freestanding visual work; a time-based component—film, video, performance, or music; and a database or archival system that remains open and unfinished. He sees the process of deep mapping as challenging our presupposition that knowledge is the specialist domain of professional experts and wants it to bring together “the amateur and the professional, the artist and the scientist, the official and the unofficial, the national and the local.” McLucas also argues that deep maps should be a “politicized, passionate, and partisan” evocation of a site, involving “negotiation and contestation over who and what is represented and how.” Deep mappings should give rise to “debate about the documentation and portrayal of people and places” and be unstable, fragile, and temporary—conversations not statements. Mapping Spectral Traces 2010.
my post from 2010
I am intending to rewrite my initial proposal in light of research I have done.
From a starting point of a ‘portfolio’ piece which showcased work using GPS and some form of app/website I have moved to a much more general approach drawing on the whole Deep Mapping idea. Indeed the closest fit to my initial aspirations of a ‘regional focus’ has been my recent discovery of the whole ‘deep mapping’ area.
I had already seen Patrick Keiller’s work and especially Robinson in Ruins which came out recently chimed with my own concerns. This has linked with the Pearson and McLucas definitions of Deep Mapping as a framework for proceeding. Indeed so much so that I am going to rewrite my initial proposal to acomodate this shift in focus. Although keen on social interaction and the kind of idea expounded in the ‘Context Providers’ book I am putting this on back burner until after M.A. completed and may form part of a larger package to take to Didcot Cornerstone Gallery (at present a gallery exposition is no longer a focus).
Deep Mapping is a complex idea and has complex outputs so the rest of this RPT M.A. is very much concerned with fitting the range of inputs into a manageable ‘online’ outcome as well as producing a range of discipline specific outcomes. I am no longer as focused on a specific app although it may still be produced.
I am also looking at merging google maps and a traditional website (which can be accessed through responsive or purposefully ‘mobilised’ websites).
To me the technology is simply a frame or container for the subject matter which is my main interest. Contemporary developments in hand held devices affords greater on location interaction but this does not now seem as important to me as providing a coherent interface for my wide ranging concerns.
It is a tall order to bring together my work in disparate fields and I am aware that there will be problems and that indeed the whole project may fall over through to many inputs but that is the most interesting aspect of this kind of work for me and also something I can honestly reflect upon as being genuine research in a fairly new area.
As Cliff McLucas stated
and I also influenced by Mike Pearson’s definition
To me this social, political and people-centered focus is at the heart of my enquiry.
In academia there is a ‘truth commitment’ thank you Jim Elkins that perfectly expresses my ongoing problem with academia…..great interview.
James Elkins is talking about the Humanities requiring ‘truth’ in a scientific way in creative matters. This increasingly the problem with fine art and creative writing degrees they require forms of ‘justification’ and ‘explication’ to warrant validity in REF terms…..
The article also discusses the ‘photo-embedded novel’ or as Elkins calls it ‘Writing with Images’.
I will respond more fully to the ideas contained here in next few days…it key to the way i see my own work going now. Less academic and more ‘practice-led’.
In 2009 in support of my initial M.A. proposal I wrote this statement….
Nothing much changed..:-)
Shaun Belcher November 2009
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…
This 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: