Bill Leslie

What happens to a sculpture when it is filmed and photographed?

What happens to a sculpture when it is filmed and photographed? How is it effected and changed by this process of capture and representation?  Can sculpture and media act together to produce something which has its own particular force and existence? Can a mediated object be considered as an art object in its own right?

This practice-led enquiry will open out the possibilities of the pictured sculpture, conceiving of the act of mediation as integral to the creation of the art object, a radical transformation and fundamental constitutive act without which the object would not be what it is. Using various representational media – still, moving and virtual – I will test the power of the media to transform the sculptural object giving to it unexpected qualities, altering its perceived scale and materiality, finding ways for the pictured sculpture to exceed its origins entering into the viewer’s perception as something distinct yet inseparable from the process of mediation.

This research will take into account key philosophical debates around the nature of objects and of representational media, alongside phenomenological analysis articulating the complex and intertwined relationship of object, and the media through which it reaches the viewer, not merely as something seen visually but perceived bodily. This will be underpinned by an analysis of how the art object has been forged historically in relation to the photographic image and how artists over the past century have used representational media to put the integrity of the art object into question. This research will create new understandings of the nature and possibilities of the pictured sculpture, establishing it as a locus of practical and theoretical inquiry which is at the heart of image production in contemporary art.

billleslie.co.uk

Jenna Collins, PhD

We Are the Road

Contemporary archival art practices utilise their artefacts in a variety of ways. My approach foregrounds certain artefact’s own internal and pre-existing complexities, separate from the complexities of an archive. This is distinct from archival art practices that focus on specific histories and their misrepresentation or absence; and practices that critique the archival construct itself.

We Are the Road, 2017

I undertake the research through the production of moving image and sound artworks that seek to adopt and critically reformulate the processes of commercial film production and the artefacts it produces (such as the location report and the screenplay). This manoeuvre responds to the notion of instrumentality, criticised in philosophical thinking about technology.

The artefacts located by this project are the material remains of non-technical aspects (communities, ideas, events) that have accumulated around the development of moving image and screen-based technological products since the late 20th century. Their continued existence as digital files and second-hand products is not the result of an organised recognition of their worth, rather, they have accumulated in the wake of technological advancement as so much junk floating around at the margins of the archive. The intention of the project is not to rehabilitate overlooked materials but to explore the idea that these unheroic fragments and their stubborn specificities actualise moments of lived experience entangled with technology.

jennacollins.com

Lucy Coggle

Digital Scurvy: shimmering the screen

Surface tension and perpetual vacillation in the digital; a practice based investigation into the effect of digital onto language in all its forms – visual, verbal and spoken.

chertluedde.com/artist/lucy-coggle/

Diagram of an Hour Radio Broadcast

Diagram of an Hour- Scoring, Composition, Publication

In this programme, We Are Publication, the Fine Art Research Group at Kingston University, score an hour into seventeen discrete sections of various lengths, according to a prescribed notation.

This programme was made by We Are Publication Research Group at the Faculty of Art, Design and Architecture, Kingston University London: Jonathan Allen, Anat Ben‐David, Rachel Cattle, Jenna Collins, Lucy Coogle, Volker Eichelmann, Dean Kenning, Stine Ljungdalh, Katy Macleod, David Panos, Cullinan Richards, Andrea Stokes, Charlie Tweed, Roman Vasseur, Martin Westwood and Esther Windsor. Edited by Jenna Collins.

It was first broadcast on Friday 19 June 2015 as part of the first series of Modulations: Broadcasting Research in the Arts, Humanities and Social Sciences, on Resonance 104.4fm.

Katy MacLeod

Reader, Fine Art

Art research, particularly within the framing of a PhD: artists’ research processes specific to the practice of Art; PhD submissions, especially written texts and their relation to PhD exhibitions and ensuing research.

Funded research, including AHRC, into student and supervisor experience of PhDs in Fine Art;  examples of PhD, Fine Art submissions, Macleod, K & Holdridge, L, 2001-2003;  artist researchers’ specific approaches to research subject identification and related research processes through to submission, Macleod, K & Chapman, N, 2009-2012;  particular thought processes inherent to and engendered by art practice research and their broader relevance to other research arenas.

Research training aimed at underpinning art practice research;  also experimental writing;  research group collaboration and reading group work; Art theorisation.

katymacleod.org.uk
www.routledge.com

Charlie Tweed, PhD

Re-writing the overcode

Charlie Tweed’s practice based PhD research project ‘Re-writing the overcode’ has developed from in depth research around the history, materialities and agency of machinic technologies and their relationship with theories of control. During the PhD he firstly created a number of video works which have tested out particular ‘escape routes’ and new forms of machine assemblage voiced by various non human personas.  For the final output he has developed a large scale audio work ‘The Signal and the Rock’ along with an accompanying publication that channels the utterances of the post-human ‘ghosts’ of obsolete and decaying technologies from a fictional research space located below one of the world’s largest e-waste sites.

 

Oporavak (2017)

Charlie Tweed (GB), born in 1974, is an artist and academic based in Bristol. He has an MFA in Art Practice from Goldsmiths, London, and is currently completing his Arts and Humanities Research Council funded PhD at Kingston University. Recent solo shows include: “Notes I, II & III” at Spike Island, Bristol; “Animate Projects” and “Alma Enterprises”, London; “i am algorithm” at Aspex, Portsmouth and Exeter Phoenix. Recent group shows include: WRO Media Art Beinnale: Draft Systems (2017); “Selected VI” (videoclub touring programme); “Both Sides Now III: Screenings in East Asia” (videoclub); “Silent Signal” (multiple venues); Oberhausen Short Film Festival; “Cold Bodies, Warm Machines”, NRW-Dusseldorf; Inland Art Festival; “dragged down into lowercase” (Sommerakademie) at the Zentrum Paul Klee, Bern, Switzerland; “The Box Season 5”, Aberystwyth Arts Centre, Wales; “The London Open”, Whitechapel Gallery.

Rachel Cattle, PhD

I am a Stylus: Play, Erase, Replay and Overdub as Strategies for Contemporary Fine Art Practice

Climbing the stairs and stepping out, its pitch black. I’m disorientated, my eyes are wide open, but I can’t make anything out. Once they become accustomed, I make out tiny lights winking blue and yellow coming from banks of electronic equipment, linked together by long black wires. Thinner brightly coloured wires hang in coils across the space, looping down between the equipment, a series of receivers, amplifiers and tuners, the debris of an abandoned radio station. I notice that everything is connected.

The air is soft, malleable, and as I start to feel my way around my fingers leave small indents. How to convey this? ((((((((((((((((())))))) ((((((((((((((((()))))))))))))))) I turn up the sound and you hear a woman’s voice softly humming on a repeated loop.

rachelcattle.wordpress.com