ARTISTS TALKING

# 16 [6 August 2009]

Jane McGrath 6th August 2009

Today was very interesting for me as Gordon Brand was here and working very closely with Tina to develop the other screens that will be used. I was interested in understanding the research that Tina has already done in relation to what size head participants more easily relate to, where they stand in relation to the size of the projected head and how the face reading technology works and its limitations. This concept of space between the work and the partcipant and the technology  is it seems fundamental  ito the work, and for me the space bewteen technology, particpant and the object is something I want to explore with chairs. Today Gordon and Tina  were also looking at the space between layers. 

Using layers had a really amazing effect on the image and how it was perceived, the face of the person seemed to be partially hidden under a steamy gauze as if the emotions were repressed and fighting to get through  - and it took the work into another dimension that was exciting to see develop. It was also interesting to experience trying to read the emotions through the layers which I think is how we have to read emotions of people around us.

# 15 [6 August 2009]

Jane McGrath 5th August 2009

So in light of my dissertation question I have naturally been thinking about  spaces of liminality within the Chameleon project. This was proving difficult at home as I had seeemingly  lost the memory of the experience of taking part. It was only coming down on the train today that  for some reason it all came flooding back - I was very glad that I took the time to take part in the filming  process during Tina’s March residency as being able to relate to the experience of the user is important.

To begin I think that when actively involved in research, an artist  is often  existing in a liminal state . During this residency Tina is both participating in the process of  research  by way of  collecting data and by way of the process of collaborative construction, she is at the same time observing the process. She is, I think both artist , researcher , collaborator and project manager and exists in a space of constant flux moving between thresholds whilst existing in the spaces inbetween. In these roles the artist  can consider her self both in relation to others as well as to her positioning in relation to the research material.  I am wondering whether it is by way of the unique ( quiet/still ?) space of just being that exists between all of these roles and functions, the space when she does not function in any mediated role -  when there is a kind of temporal disruption - the pregnant pause before  - where new  and unimagined ideas, perspectives and solutions are born?

What really fascinates me about liminal spaces is the potential for unimagined change,  the potential to disrupt power relations, change perspective.

“Betwixt and Between,  the “realm of pure possibility” and structural invisibility. " (Victor Turner on Liminality)

So I am excited by learning how to construct spaces that are experiential, emotionally and intellectually  - exploring emotions that have the potential to  make you think. Those moments when pennies drop, the “oh I see’ ‘ the  internal wow” Moments that empower and potentially change your life – you may come out changed.

Constructing Empowerment.

# 14 [6 August 2009]

Jane McGrath  5th August  2009
So I had a good think on the train down from London, trying to locate what it is about Tina’s work that fascinates me and how I see this as potentially relevant to both my practice and my MA dissertation. The question I am currently thinking about is;

"What kinds of liminal spaces have been developed by recent developments in digital technology, and how might they be used by artists exploring concepts of power and powerlessness? How can these sites create a dynamic shift from powerlessness to ‘power to’ for those who inhabit or pass through them?"

I was at first a  little surprised  and disappointed  that Tina did not consider her self to be a  “bio digital artist” , well in truth she said that she hadn’t actually thought about it and that she sees her self more as a “physio-psychological ‘  or ‘psycho- physiological’  artist. ( oops - I cant remember which way round!)

In retrospect however,  I  think it was only since recently attending the ‘Biodigital Lives’ Conference at Sussex University and listening to the discussions that the word jumped into my own vocabulary -  I had simply presumed that the term ‘bio digital’ was in wide use ie  artists working with (bio  - study of life) and digital would thus be considered bio-digital. It seems to be a term that is not used much.  So I am now asking my self  - what is bio-digital - how would I define it – does it have a definite set of boundaries and conditions… these questions I clearly need to explore. What artists might consider them selves bio digital?

# 13 [5 August 2009]

I asked sereena to extend the shoot - as i am thinking for the pixy screen we need to concentrate a bit more on gesture. She looked relieved - I asked her to move as she spoke, feel free to move her arms and use the space around her. She said that it felt more natural - she doesn't like stillness. It was strange to direct the shoot with more space - and not just concentrate on the face - we only shot this for half an hour - its just an experimentation - we will see if we can extend it - if it works. We are hoping we can start seeing video today...will be interesting - maybe we can flip between closeness and distance? I will look at all the edit points.

I need to shoot one more person with distance and gesture - I am not sure who but will think about it today. I have another shoot tonight, so maybe we can extend it there.

The first screen is up. Not working, but its hanging. It feels exciting.

# 12 [5 August 2009]

I shot last night till about 10.30 pm or so - Sereena first and then Amy. I had shot them the last time I was in brighton - so last night was my third shoot with them - but just wanted to spend some more time with them. I had re-looked at the footage I had, and felt there was some more areas to expand on. More silence, and a little bot more speaking. Each shoot went for about an hour and a half. It was a great shoot -

Each one I am beginning to know  a lot better - a lot is shared and i am feeling more comfortable directing them. We talked about the stories they last shared - what had happened in between. A lot had happened in six weeks. Both were a lot more comfortable and really happy. It was hard to find any sadness last night. It must have been summer, because the feeling was up-beat - much more up-beat than it was in June. They are understanding the process better as well. With Amy, for sadness - I left the room for about five minutes. It felt like that might have been easier for her and she mentioned it was. It will be interesting to digitize the footage today. Interestingly, Amy - who was really still last time, had a lot more movement - naturally as she spoke - she began speaking with her arms and really direct body movements. She didn't do that in the last shoot. It was amazing to see a different side of her revealed. She actually moves really well - but she had no idea she was moving.

We laughed a lot last night. At one stage with sereena  found myself talking a lot more than her. Just stories of past - it was really enjoyable. At one point we thought she should have been on the other side of the camera. It such an interesting process. Exhaustive, but incredible to be able to spend time with these people and get to know them. Having the freedom to ask questions and the space to listen. To really listen. Its rare. Ron told me the other night that he had shared more over an hour an half than he had done with anyone for a long while. It was a privilege. The stories of these peoples lives are amazing. So many different ways to live, so many stories, so much hurt, death, scares, dramas, happiness. Its wonderful.

Sadness was hard to find last night. I wonder why... Sereena was so vibrant - its like she is bursting with an intense interest in life. Amy was a lot happier.

# 11 [5 August 2009]

Its morning - and have just got in. Connor, the student - he is here again - now helping natacha build parts of the pixy screen. I think he is enjoying himself.

I feel tired this morning. My baby has a cold and was having trouble breathing last night. He has croup again. It made for a night of not much sleep and a bit of worry. I think I have now caught his cold. I feel so tired this morning, but my baby is happy this morning, I got a lot of kisses. I think his cold will be over tonight. We move a lot as a family due to my work...and last night I was laying in bed thinking - what if something goes wrong, what if he stops breathing - who do you call? where is the doctors in Brighton, where is an ambulance? how do you call one. What if you need something like this in a hurry? Its rare that we are in Australia anymore, but these thoughts about the everyday things - how to find doctors, hospitals, etc, if anything goes wrong - how do you cope when you travel so much and each destination is so new.

# 10 [4 August 2009]

Tina Gonsalves -

I digitized all of last nights footage. I edited helen's in and out points - making them longer. I feel I am going to have ot deal with it another way - meaning - less talking - longer edit points.  - edits driven by changes in emotional expression and not edit points...? The problem is is that if we don't have key in and out points - it could just corrupt everything. As in - sort of become quite flippant.  I need Jeff to start working on the next version of this. jeff Mann is building the video engine. He is still in Berlin, but I have a feeling things will be able to work with out him being here.

Kim Byers, from UCL interaction Center who was doing todays evaluation mentioned that the 'best ' response were the portraits that didn't talk much at all. the ambiguity gave a lot more room for interpretation. Editing, shooting wise, obviously someone who doesn't talk is easier to deal with. Again, more space, more quietness, potentially more reflectiveness. 

On the other hand, to elicit different emotional states, I often begin by talking to each of the participants. They mostly talk a lot - its amazing where the conversations lead to. Its such an interesting process.

Kim noticed that the characters got moody. She said by the end of the day - they were unresponsive. This was interesting, as I hadn't quite told her about how the coding of the work has memory and overtime a mood and temperament for each character would build. I need to get the mood /temperament figures for kim to guide her evaluation. I also need to spend some time playing with them myself. I am not sure how to access them, but have asked jeff how we go about it. 

# 9 [4 August 2009]

Jane McGrath - MA DIGITAL MEDIA ARTS

Arrived today feeling a little unsure of what to expect, came down the stairs turned the corner and arrived.... a room full of activity, a large green tarpaulin laid out on the floor, painted white diagonal stripes from a previous incarnation. Now a collection of  fresh  batons lay horizontally and three people sit and work. 

Connor and Hayley make up two thirds of this team. Both are working as part of a placement scheme for a project called "Loops" that aims to give young people interested in working in the arts some hands on experience. They seemed very capable - as they utilise the glue gun, coiled plastic and batons with great ease. They were really involved in building a project that seems so complex but as with anything in life - small simple steps make up the most complicated of designs.. .

Natasha is at the other end applying some small plastic looking squares (which I am sure are actually more than this) to even more batons....Michael is setting up a series of what he calls 'pixy boards' which are like to my inexperienced eye a collection of more complicated multi storey mother boards. It looks like a miniature suburban office building structure  - prior to the cladding being put on.

Tina runs in and starts getting things organised to set up the screens and computers for the software. She needs to digitise and transcibe and its all hands on deck.

How do I feel? Nervous, a little shy ..but welcomed, also a little unsure of how to make my self useful. Carl, who is also assisting helps me to relax as we chat about his current project relating to shyness.

I think as i write that maybe this blog will be more helpful if its subjective rather than simply reporting what happens . Im an MA student and my back ground is fashion public relations, working for 5 years for Jean Paul Gaultier, teaching at London College of Fashion and film-making... I say this to qualify the following... i came to the course  with a bare minimum of technical skills outside of film making and event organising and have been grasping and flailing around trying to catch up with my peers ever since. But in my defence I can now program..

So its an understanding of the technical that fascinates me about this project as well as an exploration of liminal spaces . I guess then that this blog will be an account of what I see, learn and think, which may be as surprising to me as it is to readers of this blog..

# 8 [4 August 2009]

A very interesting energy, buzzing, chatting and the odd "bang bang" ... infact as I type the bang bang has become BANG BANG..

Tina Gonsalves - The screen is starting to take shape now - hayley and connor have left for the day - Karl has gone back to London. I have set up the studio next door for tonights shoot. I am getting a bit tired but also know its rare that you have access to such space, help and technology - I need to make the most use of it we can. Gen and Jamie from Lighthouse have been great as always. - helpful. nothing is a problem. Natacha and Michael have been given keys to Lighthouse now - I have a feeling Michael will be here all night - working away - he seems a bit panicked - he is building the 'guts' behind the pixy screen - he is an amazing artist/thinker/technologist who makes pretty hi-tech stuff with lo-tech. 

We had some great talks today - about space - as in gaps, about stillness, about interventions, about connectedness, sharing. karl's back ground as an anthropologist is incredibly interesting. He discussed a lot of books and philosophers. Its been great to have him about. I discussed a few future ideas I am trying to get off the ground. Jane has an interest in 'Liminal spaces' - she is doing her MA at Brighton and is here to help out for a few weeks. She wants to know more about the project/process and is thinking about writing about it for her dissertation. Natacha talked about a project natacha talked about an artist working with hexagram that embeds the screen into the mirror. 

These thoughts are interesting - Michael mentioned a french company that makes video screens that are mirrors. Then  It would be nice to explore all of this further. Gordon Brand is here on Thursday, so it will be interesting to discuss things further. I want to see this project shift into something beautiful - more aesthetic, more seductive. More realized than past iterations of the work.

Natacha has found my process of work interesting. She says that the way that I work is very built into the concept of Chameleon. She says I should discuss it more - but its hard to be objective about it when you are in it, and its part of your everyday. I have asked everyone who is taking part in the next two weeks to write about their experience, and hopefully post it to this blog. I hope they do. I want to know what they get out of it. Natacha calls it an iterative process. I am not sure what I call it.

# 7 [4 August 2009]

the hammers have started. lots of banging, lots of people. lots of noise. we have been told to quieten down. I have a feeling the screen will be hanging tomorrow. I am starting to digitize last nights shoot. I have installed the new Pixy patch to work with the Chameleon Project.