Well, that felt flat didn’t it?
I began with Taras’ post about the Patrick Pound exhibition and how simple constraints, followed, allow different sorts of noticing, making, and artefacts to be created. While this is a particular sort of rule governed art this is also how to think about a lot of recent media practice, after all a tag on Instagram is another variety of constrained practice.
Using the following observations/statements from Stewart we all made haptic films, that is sketch films that ‘touch’ an object.
Instead, they might propose a pause, or to try to write theory through stories, or try, through descriptive detours, to pull academic attunements into tricky alignment with the amazing, sometimes eventful, sometimes buoyant, sometimes endured, sometimes so sad, always commonplace labor of becoming sentient to a world’s work, bodies, rhythms, and ways of being in noise and light and space (Nancy, 1997). (Stewart, 445)
Here, things matter not because of how they are represented but because they have qualities, rhythms, forces, relations, and movements. (Stewart, 445)
Theory becomes a descriptive method awkwardly approaching the thing that is happening by attuning to it as a thing of promise and contact (Berlant, 2010). (Stewart, 447)
I contextualised this in terms of noticing the thing as a line (Ingold) and not a circle, and also (simultaneously) noticing what your camera is noticing, and how. These are framed as steps toward making media making a habit, a practice and a medium in the same way that we treat language as a habit, practice, and a medium. We sketch, it is ephemeral, and we learn how to be adept at it by doing it, a lot.
The small films made should be added to the google drive so that a gallery can be made.
