Spent this morning running a final test for live feed for the assesments on Tuesday. It just wasnt happening, I have had poor connectivity all this past week and today was no different.

It has made no difference if I have been at home or at Empty Shop HQ, wireless or cable connected, the server just keeps dropping unexpectedly.

The possibility of this happening was something I had disscussed with Andy and my peers during the last chat session we had and had been advised to have a video piece incase of this eventualitity occuring.

I dont want this to happen durring either assesments or the private view, so I took the decission to draw the line under this part of the project at this point and  emailed Andy and Jonathan today to let them know that I wont attempt a live feed on Tuesday, and to thank them for their support and patience over this asspect of the project.

Iam very disapointed not to have been able to find a good work around, but this week at college has in part been about resolving technical issues and I  managed to broadcast uninterupted on the 13th June for 2 hours.

Here  is a video of the live cast piece. Again focusing on the notion of walking as an activity which is being obstructed, altered or made difficult.

The 12 stones are laid out in the form of a rough circle. This piece again has a  theme of endurance.

Will keep developing this piece now for the Meanwhile project show.

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There seems to be a huge amount of work happening just now and I have been continuing to work on the back up video and documentation videos for Camberwell.

I realized that the making of the video is in many ways is about taking control; and am realizing that I need to clarify for myself if the video is to solely be documentation or a more intuitive creative piece.

If it is an intuitive piece does it stop the video being documentation?

This video by Alistair MacLennan raises queries about documentation of live art.

http://vads.ahds.ac.uk/collections/maclennan/video.htm

U2

June 21, 2010

Video editing isn’t something I am too comfortable with. There are issues to do with controlling or directing to an extent what the viewer sees that I am uncomfortable with.

Which seems a dichotomy when making a piece of art work?

One thing I have considered post the MA is taking a course in video making and editing and also looking for a collaborator to make some films with. Some to be on the other side of the camera, who could bring their own area of understanding and expertise to a project.

This aspect of visually controlling or directing a piece is for me less of an issue when doing a live cast work. I think it also demands a different kind of engagement from the viewer who becomes less passive through acting as a witness to a live event.

There is also the element of time and lived time that a live cast piece engages in.

There are 2 for me surprising realisations as the MA draws to a close:

  1. That I feel that my media is live art/video/photography (though in terms of recording/documenting a piece or in terms of creating a stand alone art work I’m not yet too sure)
  1. What I bring to my work and what is integral to it is the use of my own body.

Another issue that is beginning to come a little more in to focus at this point of the course is why it feels so difficult to create a ‘finished’ piece (especially since the zines are always part of a very clear production process).

It might be that I haven’t yet established a defined process I am comfortable with in order to create a finished work.

But it does instinctively feel more to do with holding up the wrong expectation in relation to the ensuing ‘product’ created through my practice.

It seems that given my work is founded on my body a ‘final piece’ would be just that and would be me tucked up in my coffin. (There are a lot of implications to think about and take forwards in that sentence.)

I hope to move forward from this MA and begin to review working practices and evaluate possible out comes in terms of recording and methodologies of creating work.

When I began the MA I expected to find a digital tool or methodology in order to ‘become’ a digital artist.

Through watching my peer’s project development e.g. May, Ina, Rod and many others I began to feel a discrepancy in our directions especially when I found using soft wear applications such as Dance Forms, Korsakow, and Adobe Premiere Elements so stifling.

What digital processes has given me is not so much a direct tool to house or deliver/create a work, but more of  means through which to question and examine something that was so familiar I couldn’t see it clearly.

There are so many exciting new pieces of interactive and digital works that are inspiring and raise engaging issues. I would very much like to try again with Isadora interactive softwear and also Korsakow, but really feel now need to go away and spend time working on my practice and further refining my understandings.

The next challenge will be establishing an ongoing practice outside of the MA, this is something I’m looking forward to. It wasn’t initially, but reviewing unit 2 has provided the realisation that there are more questions and ideas to pursue and that the MA has established a mode of practice which should stand me in good stead for moving forward.

U2 w19

May 6, 2010

Final Show Piece:

To clarify about the form of the final piece for the MA show in July:

There are 2 options

1)      Live broadcast performance / actuation piece

The issues around this possibility are:

a)      Venue. Had a possible venue which has fallen through. Need to rethink about the space/environment.

b)      Personal issues which mean it is not always possible to keep commitments. So being able to provide live broad cast over several days is a gamble.

2)      Interactive Korsakow based piece.

http://korsakow.org/

Have used Korsakow previously in unit one for the college interim show, and is a project that has been an ongoing part of my MA project.

Below is a link for a test site. There are issues with compression of file  sizes on the test site which are getting resolved.

There maybe issues around file storage size so have been looking at web hosting for the project. Had  help from my sister  and her partner with setting this site up.

http://www.migwig.com/snowindex.html

Please scroll down the page to click on a thumb nail video clip.

Korsakow allows  a random element in linking videos which echos the unpredictable nature of the human body.

These are quite different project outcomes.  But the aim is to keep the door open on pursuing the actuation while finishing the Korsakow project in the next few weeks.

Symposium 2

May 1, 2010

U2 W9

March 8, 2010

Mail Art One is now packed and ready to post out.

mail art one spring 2010 PDF

Also posting down some books to London for a shared stall at the Arts Market that I was invited to be involved with by Katsura a former Camberwell digital arts student.

It was interesting to try out some new ideas and to re do some of the paper pieces I did back in the early 90’s in digital format.

One of the things I hoped to incorporate into the MA from unit one was an e-book but didn’t have time to develop the idea.

I have been looking into various options and would like to do a little more research into what might be possible to produce in the time frame.

http://pro.yudu.com/ebooks/index.php?ls=89&gclid=CKP63I2goaACFQYslAodvV5-ZA

http://www.adobe.com/epaper/tips/acr5ebook/pdfs/eBook.pdf

Aim to have the summer issue of Mail Art One presented in this format along with the paper version.

Have also been thinking about the next live art piece and getting things together for that. Planing another live broadcast piece with in the next 14 days.

Walking on surfaces that are unsuitable may be a metaphor for society’s use of restricting movements as a means of control. Wether legally accepted or other wise.

This idea began with a mail art piece for the 1st International Mail Art Exhibition of Puerto Rico,  around the theme of stopping child abuse .

This idea has begins to try to open up to other issues such as those discussed in a recent online chat  about what can happen and has been experienced by some when photographing in public places or when carrying a camera which  resulted in the police intervening and requesting personal details due to the anti terror laws.

U2 W6

February 19, 2010

Livestream test:

Spent Tuesday setting up a piece for a Livestream broadcast and Wednesday evening did the 1st broadcast test piece via Livestream and my website.

http://www.Livestream.com/susanmortimer

There were some technical glitches with the camera due to low battery power and trying to get adequate lighting levels.

I did a repeat of  ‘walking on egg shells’ as it was a contained piece, and fitted the constraints of the space I had to work in needing to be close to the computer and could only arrange set up within the range of the USB connection of the video camera to computer.

It was a different experience knowing there would be a live audience and I felt nervous due to a different level of accountability.

This is a response emailed to me afterwards:

‘The expression ” walking on eggshells” suggests the extreme tension and fragility of a situation likening it to the physical impossibility of walking on eggshells while doing as little damage – ideally none at all – to the eggs (or to the feet).

Rather than trying not to break eggs the feet and their owner in this film seem to be interested in the actual physical effect of this action.

The physicality of the eggs – their weight, their balance in the pile and the curved, brittle, slightly uncomfortable feeling of eggshell against eggshell changes inevitably as the eggs are stepped on and the physical focus moves from that of the eggs to the sensation of the feet squashing them – extremely satisfying, go back a couple of times for eggs that have been missed the first time round – and that of slippery sticky eggy liquid squishing in-between toes and round the feet.  In the action the sense of discomfort is not, as in the expression “walking on eggshells”, of an atmosphere of tension and fragility, but is much more physical.  It is in the slightly double-edged feeling of having squishy raw egg round ones feet – pleasant and yucky at the same time;  in the small sharp shards of broken shell that might hurt or cut the soles of the feet;  and also a background noise of “afterwards” and having to clear up.

Somehow it’s like an answer to the predicament of “walking on eggshells” – rather “you can’t make an omelet without breaking eggs”.  Probably this is too literal a reading of this film.  But the pace, build up of suspense and physicality of this event – even more so because it could be seen in real time as it was happening – act like a relief/release/tonic to the sense of tension of the original expression.’

There were some issues with the level of pixilation in the broadcast piece. Not sure if that’s down to a problem with bandwidth, video camera, or the type of Livestream package I am on so now need to do some more research in to Livestream. Also need to think about camera angles in relation to moving round such a limited space and expanding the set up.

Also need to engage with the rationale of the final piece but now have an idea for a follow up piece to test ideas out on.