PAPERS
Loosening the boundaries / Our Unevolved Brains / The Displacementof Artist Researchers / Facing the Posthuman / X-cite, Feint / The Senses have no Future - Feint /Blog 2012
Loosening the boundaries / Our Unevolved Brains / The Displacementof Artist Researchers / Facing the Posthuman / X-cite, Feint / The Senses have no Future - Feint /Blog 2012
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The Senses Have No Future (2010- 11)
Part 2: - paper for Feint Hans Moravec argued in 1997 that the senses have no future. (http://www.kurzweilai.net/articles/art1085.html) This studio work is a bridge from Peeling the Body 2010, to extending the research into the area of questioning the implications of this position spoken of by Moravec. This work begins to unpick the notion of a future without the senses, and the current situation where technology broadens our knowledge beyond our human senses to reveal information and understanding that is otherwise out of reach; information that is otherwise beyond our reach. The process in the studio is in its early stages. The approach is one of art practice to think visually about the concern. Using images arising from the unconscious and allowing their formation using my responses as a guide. The development will be working in partnership with the Forensic Laboratory, Cranfield University to explore the advanced imaging process and outputs. Figs indicate the progress from responding to the world around one, the world within, and finally a more reduced approach, limiting colour and form. |
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The artist-researcher does not need to prove a case of similarities with researchers as Wainwright and Rapport do in their Conference Report of Circles within Circles - Qualitative Methodology and the Arts (2007).
The artist-researcher does not need to be promoted as effective to work with scientists in the way Vibeke Sorensen writes to achieve in The Contribution of the Artist to Scientific Visualization a talk delivered at The School of Film and Video, California Institute of the Arts in 1987. Artists are described in this delivery as 'individuals working towards a deeper understanding of the world in and around them', expressing the view that 'it is through the artist's methodology and experimentation and creation that new visions, new techniques, and new ideas enter the collective knowledge base of the culture'. The paper asks three questions: What is an artist? How are artists like or not like scientists? How can artists and scientists work together? Part of the conclusion is an urge 'to form Artist-Scientist-Teams, where artists would aid in the visual display of data collected from scientific research'. While the similarities of characteristics of artist practitioners and other researchers is recognised and partnerships with artists practioners and other researchers may present new opportunities; and where such enabling of scientists by artists, is recognised, the singular projects and methodology of artist-researchers spoken of by Graeme Sullivan is the heart of the activity of artist-researchers. Artist-researchers are fluent both in the word and in visual imaging; the two intertwine. Yvonne Jones Feint: catalogue wield / tackle Practice-led research variously emphasises insights revealed by the artist-practitioner, the creative product or the critical process. To fully consider the impact this quest for new knowledge has on the self, others and communities requires a new responsibility on the part of artist-researchers to take up the challenge of theorising their practice… for 'in academe, the artist-researcher cannot hide behind the robe of the mute artist' (Makela and Routarinne 2006b: 25)… It is no longer viable for advocates of practice-led research to merely borrow methods from other fields of inquiry for this denies the intellectual maturity of arts practice as a plausible basis for raising significant theoretical questions and a viable site for undertaking important artistic, cultural and educational inquiries. (Graeme Sullivan, Art Practice as Research: Inquiry in Visual Arts. 2010. Sage, London.) |