PANEL 1 11:00 DAY 1 (26/9) ROOM HBS 1.69/1.70, UNIVERSITY OF MANCHESTER
Dear Stanley: Re-illuminating the landscape of the Hoo Peninsula through the media of film
Anna Falcini, University for the Creative Arts
My research project is investigating the atmosphere of the Hoo Peninsula and how that can be articulated through a multi-disciplinary art practice.
Refugee Journeys: Multisensory Processes of Place-Attachment in Nelson, Aotearoa New Zealand
Amber Kale, Victoria University of Wellington, New Zealand
In my PhD research I use interviews, city navigation journeys, map-making activities, group discussions, and a multisensory art exhibition to explore former Burmese refugee women's multisensory and affective experiences of displacement and place-attachment in Nelson, New Zealand. Through this research, my thesis aims to critically discuss how processes of multisensory place-attachment could enhance emotional and social wellbeing, inform refugee resettlement outcomes, and contribute to an emerging body of international research exploring sensory refugee journeys.
Technologies of vision and the absent presence of race
Ildikó Plájás, University of Amsterdam
Framed by my PhD research focusing on the production of the ‘phenotypic Other’ in Europe by different technologies of vision, this experimental film argues that montage can be used not only as a trope but as an artistic-scholarly intervention to bring about the ‘absent presence’ of race.
PANEL 2 13:30 DAY 1 (26/9) ROOM HBS 2.53, UNIVERSITY OF MANCHESTER
Emplaced Interaction from Audio Installation to Extended Reality
Robert Eagle, University of the West of England
Beyond linear documentary film, immersive and interactive media can help ethnographers grapple with ways of representing an ethnography of the body and senses. This paper presents examples of recent location-based installations that require the audience to experience interactive documentary collectively through kinesis and locomotion.
X-TREM and QUADRANT: From Stage to Screen
Marta Arjona & Silvia Robert
This presentation talks about the experience of creating dance short films with the students of DansAra Sarral (a dance school in a 1500 habitants village) through choreographies that were first created for the stage. The first experience was with X-TREM (selected in 23 international festivals) and the newest one with QUADRANT, that has won a 1st prize in Brasil. The presentation will explain the work that was done in order to transform both choreographies from stage to the screen, because the audiovisual format gives you the chance of directing the public’s eye wherever you want.
Culture From the Margins: A cross-cultural exchange between ex-Industrial poles of Rio de Janeiro and North England
Dandara Catete, Wesleyan University
I work with concepts surrounding themes of domesticity, intimacy, and the struggle for habitation rights. I work primarily with found household objects to create sculptures and installations. I am also Creative Director of the Jardim Suspenso Art Residency and Festival, in Rio.
PANEL 3 11:00 DAY 2 (27/9) ROOM ALB G030/031, UNIVERSITY OF MANCHESTER
The Subversion of Female Representation as A Triangular Prism (Using the Analogy of Female Fashion to Clowns and Clowning)
Gwenny Von Quint, Plymouth College of Art
This is an examination of female representation, leading to the determination of which factors contribute towards subversion, realised through the making of an analogous film (Transposition). Emphasis is given to questioning the humorous and entertaining nature of a clown, and understanding how it is reversed into something sinister and/or darkly erotic, alongside whether garments have the power to define or subvert representation, or is the association with them more significant?
(in)transient bodies: exploring spectatorship and the photographic medium in dance and disability interventions
Kathryn Stamp, Coventry University
The current focus of Kathryn’s AHRC-funded PhD research is on photography-based interventions located within the intersection between dance and disability, following on from an evaluation of People Dancing’s ’11 Million Reasons to Dance’ project.
Tangible Translations. A Journey of Waves
Snezana Stankovic, Humboldt University of Berlin
Drawing on the short documentary by Linda Paganelli, A Journey of Waves, the paper will present how an individual experience of flight does not (intend to) remain ‘reduced’ to merely motion, trauma and survival. Following its translation into a filmic journey, my essayistic survey will dwell on documentary film as a research and creative process that becomes a means of poetic cross-translation of two emotional, social and cultural worlds.
PANEL 4 11:00 DAY 2 (27/9) ROOM HBS 1.69/1.70, UNIVERSITY OF MANCHESTER
A discussion of what it means to voice a traumatic experience and how does the Cinematic contribute to an affective understanding of traumatic memory?
Anna Walker, PhD, University of Plymouth
I am interested in the turn to affect, specifically how the body responds to trauma. Within my practice I make use of an embedded combination of text and mixed media—predominantly photography, moving image and sound. My research starts from the premise that trauma ruptures identity and creates chaos not only in the individual but also in group and societal systems.
Film Montage: a three-layered processus. Or: what can The Old Testament Trinity by Andrei Rublev tell us about film.
Ondřej Vavrečka, PhD, FAMU, Prague
The lecture uses the term of film montage as a concept that links two heterogenous art discourses: medieval art history, iconogaphy and symbolism on the one hand, and, on the other hand, a technical operation that characterises film. The link works both ways. One way: by moving the medieval icon into the field of film, the icon is actualised, revived. The other way: using medieval icon as an explanatory model for film can put the concept of montage into surprisingly clear language of image.
Live-editing as mediating mechanism
Eva La Cour, Valand Academy, Gothenburg University
My work explores the image-political Arctic as a neo-colonial situation, through the figure of the nature guide and strategies of live-narrated montage
PANEL 5 11:00 DAY 2 (27/9) ROOM HBS 2.53, UNIVERSITY OF MANCHESTER
The Photograph as Ontological Episteme
Alexandra Murphy, University of Northampton
My photographic practice explores the relationship between the photograph and the museum taxidermy specimen. Dialectical and preservative characteristics are explored through photographic process and haptic representation, to find ways of knowing in the photograph's shifting ontology between nature and science.
Living Images - The Photographic Error as Embodied Knowledge
Dr Tracy Piper-Wright, University of Chester
My research project, In Pursuit of Error, explores the photographic mistake in digital and analogue photography and proposes that errors reveal the intricate combination of human and technological acts which take place in the photographic process. The project combines curatorial and ethnographic aspects which explore the space of making inhabited by photographers and artists and the value of the error in creative practice.
Bogotá Patterns Project: Visualizing Urban Materiality through the Creative/Documentary Nexus
Dr Ann Kroon
The Bogotá Patterns Project is a creative photographic visualization of urban materiality in the capital of Colombia, employing diverse perspectives from contemporary archaeology, urban sociology, and visual research methodology. The project has a special interest in tentative contemporary design archaeology, focusing vernacular typologies of colours, forms, lines and textures.
PANEL 6 14:00 DAY 2 (27/9) ROOM HBS 1.69/1.70, UNIVERSITY OF MANCHESTER
People living with Dementia as Co-creators: Arts Practice-based Collaborative Ethnography
Jong Min Jeong, University of Manchester
Developing upon the use of creative arts practice-based methods such as drawing in collaboration with people living with dementia in a care home setting, I demonstrate a new potential way of knowing, communicating and researching through dementia-friendly methods, which would depict them not only as co-creators but also co-investigators, particularly focusing on their affective performativity.
Research or Production? The Problem of Methodology in Fine Art
Dr Mark Wilsher, Norwich University of the Arts
Adapting research methodologies from the social sciences or using the idea of tacit knowledge to theorise material practices are of no help to artists in search of a generative structure in the studio. Subject matter, methodology and outcomes are often conflated within contemporary art, and one way to identify usable strategies is to simply look at the features of well-known styles and movements.
Disruptions as a way of challenging Cognitive Miser
Yaron Lapid, Regent's university/independent
My current work explores different aspects of how we distribute our attention to imagery and the implications of image-making production. To investigate this issue, I will present several works that disrupt images and moving-images to reveal how disruptions can challenge viewing reflexes.
PANEL 7 14:00 DAY 2 (27/9) ROOM ALB G.020/021, UNIVERSITY OF MANCHESTER
Visual Data as a Key of Two Narratives: The Modification of the Domestic Space by Airbnb
Roei Bachar, University of Milano-Bicocca
"Sense of Home Via ICT Applications" is a multi-national qualitative exploration about space modification in the domestic realm by ICT application users. The research is being held in the city of Milan, Italy. the city of Lisbon, Portugal, and the city of Jerusalem, Israel.
Visual Ontologies within digital social networks (Web2.0 and Web 3.0)
Pedro Andrade, University of Minho
Ontologies are modes of organization of meanings constituted by semantic and logical concepts and relations and established either among ideas or among locative nodes that connect digital networks and the respective resident addresses (URLs) inside global information systems, such as Visual Ontologies that link visual concepts and their relationships as the image of a logotype of a trademark which deploys a rhetoric both sensitive (seduce a client) and rational (persuade him/her to buy). Ontologies may be included in several types, e.g. Artistic Ontologies defining aesthetic ideas and their connections, Mediating Ontologies articulating mediator concepts, Hybrid-Logic Ontologies using hybrid concepts and logics which merge textual, visual and audio contents with their relationships.
