Through practice I am interested in examining how the processes of re-making, re-recording and re-choreographing, can reveal tensions between temporal regimes. My work explores the impact entangled technologies are having on artistic disciplines and I am interested in the politics between digital and physical spaces and places.
McGuire (1998) highlights connections between montage and “Mise-en-abyme effects” (p68) montage creates distinct visual forms which have the power to project the spectator into the picture. I am interested in new places created by technologies mise-en-abyme like effects.
I am interested in re-choreographing movement and sending material into a technological Abyss. Into the abyss derives from the French conception mise-en-abyme, a “series of apparently endlessly overlapping, enclosed networks of conceptual or structural spaces which form a kind of labyrinth leading to a shifting, ever-unattainable nucleus or centre” (Cardwell, 1989 p. 271)
How does material move through itself? This study embraces technology and the increasing proliferation of, and exposure to screens, as such this project is interested in a kind of medium un-specificity. The methodology acknowledges that the data is re-used and not contained in any one place, it is shifting, re-staged and re-performed. The methodological implications of this study require a reciprocity and dialogue to occur between many disciplines. It challenges universalisms and it implies a plurality of knowledge in this global knowledge society (Ludden, 2003).
Parody is a valuable tool, which can help push content through different value systems. The UK amended the Copyright, Designs and Patents Act 1988 (CDPA) in October 2014 to allow fair dealing with a copyright work for the purpose of caricature, parody or pastiche (section 30A). The European Court of Justice has held that the parody exception is an autonomous concept of EU law and so should be interpreted uniformly throughout the EU. (Lagarde, et al, 2016). One area I am exploring through practice is the power that has been afforded to parody by law.
I am specifically interested in the relationship between film and still image. If we consider Virilio’s (1977) theory that the logic of acceleration lies at the heart of the organization and transformation of the modern world then the speed at which entertainment and distractions operate at, are happening faster and faster. How is this affecting film space in the digital age, and how is this speed affecting the boundaries of artistic disciplines online? Twitter demonstrates how programmes and films are being shared and exhibited. Cinema is being reduced to animated graphics interchange formats so it can be consumed at faster speeds. As content glides through digital platforms, disciplines are eroded and new spaces formed, from these moments that surface on various platforms. Material is malleable and re-makeable.
– Carol Breen, PhD student C-DaRE