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kevinb3896 · 7 months

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Auction House: The Art of the Deal, Made Real

Auction houses are companies which facilitate the purchase and selling of property like artwork, artifacts, collectors property, art, and many other high-end items. Auctions can be a game that allows bidders to compete for the chance to buy an item by providing the best price. Auction houses offer a way that allows buyers and sellers connect and trade with each other, while also playing an important part in the world economic system.

Auction houses have existed since the beginning of time, and have changed with time to accommodate the demands of their clients. Nowadays, auctions are performed in person, online or as hybrid forms. Auction houses also offer array of offerings to clients like appraisals, consignment as well as shipping.

Auctions are an excellent opportunity to locate interesting and unique items for sale that are priced at less than their value. It is, however, essential to research the item prior to placing a bid for an item and be aware of the dangers involved with auctions.

List of Auction Houses:

Artemis Gallery is an online auction house that is specialized in old as well as ethnographic artwork. It was established in 1993, and has a lengthy history of selling genuine and top-quality artifacts. Artemis Gallery offers a wide assortment of merchandise to purchase, which include ceramics, stones, metal glass, wood as well as textiles from different cultures from all over the world. The items for sale are 100% guarantee that they are authentic and exactly as they are stated.

An usual Artemis Gallery auction often includes classic antiquities that come from Rome, Greece, Egypt and Asia. The extensive and varied collection includes Oceanic arts, Egyptian art, and Tribal art comprises stone and pottery, furniture made of wood ornamental arts, as well as textiles.

Akiba Antiques is a Japanese auction house that is specialized in Japanese antiques and works of art. It was established in 1980 and enjoys an enviable reputation for its knowledge of Japanese art as well as culture. Akiba Antiques offers a wide range of objects to purchase, which include Japanese ceramics, prints made of wood painting, swords, as well as other objects of art.

The auction house got off to started with a modest beginning, and focused on fine art. Franceska has expertise on French furniture, particularly Napoleonic Era, La Belle Epoque, Art Nouveau, and Art Deco-style furniture. Charles was fascinated by European painting styles between the Renaissance period through the present day.

Art movement. The even mix of knowledge made the Akibas develop into a formidable pair in the world of art.

The company is based in Asheville, North Carolina, Brunk Auctions has been conducting sales of the finest and most decorative arts for the past thirty years. Auctions are conducted at the company's North Carolina sale room and have a large international public. Established in 1983 by Robert Brunk in 1983, the auction house has an entire staff of thirty specialists who have more than 100 years of knowledge. Bob used the knowledge he gained as writer, anthropologist and skilled woodworker. This is an unmistakably matched set of talents which continue to help illuminate catalogue entries and help auctioneers understand. Bob is now a sought-after advisor And continues to be an and auctioneer.

Andrew Brunk joined his father in 2005 and continues as auctioneer. His experience as a curator has led to more attention to research as well as the art of connoisseurship.

Brunk Auctions is a regional auction house on the Midwest United States. It is a gallery that specializes in the sale of various items such as antiques, fine art collection, antiques, along with estate jewels. Brunk Auctions is known for their fair prices as well as friendly customer support.

Bonhams is a privately-owned International auction house. It was founded in 1793 and is among the biggest and most well-known auctioneers of antiques, fine art automobiles, jewelry and motors.

Bonhams is a world-wide auction house that has its headquarters at London, New York, and Hong Kong. It is a specialist in the sale of various items such as antiques, fine art and watches, jewelry as well as wine. Bonhams is among the biggest and most sought-after auction houses. Their auctions regularly draw the attention of world leaders.

They're the top appraisal and auction company within our area, having sold over $135,000,000 during our winning 47-year history. They specialize in appraisal and auction of furniture that is antique, Texan & European art and decorative art rug and folk art, jewellery as well as coins and sterling silver. They host weekly and special auctions in our Central San Antonio, Texas auction house, which draws hundreds of buyers to each occasion.

Vogt Auction Texas is a good option for buyers and sellers of fine art, antiques, collectibles, and estate jewelry who are looking for a reputable and experienced auction house. The gallery has a long history of success, and it offers a wide range of services to its clients.

One platform that stands out in the realm of online auctions is Auction Daily. It serves as a comprehensive resource for anyone interested in the auction world, offering a wealth of information, including auction previews, auction calendars, auction house, auction news, and connections to antique dealers, and painting dealers.

#auction house #auction news #auction preview

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artschoolmadememakethis · 1 year

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Reflection & Evaluation Statement

Context

My project explores the complexities of gender performance and attempts to criticise the default binaries that people often subconsciously embody or prefer. I draw from concepts informed by writers such as Judith Butler, Naomi Wolf, Audre Lorde, Gloria Anzaldúa, Bell Hooks and Kimberly Dark, all of which are continuing influences of mine.

The research began with reading Gloria Anzaldú’s work ‘Borderlands/La Frontera: The New Mestiza’ (1987) which tackles the intersections of forming identities and specifically discusses gender. This auto-ethnographic, code switching, language switching work was fundamental in grounding my understanding of individual identities and the role that specific backgrounds play in it. It enabled me to understand my own context as to why I was feeling such a disorientation in my own gender performance. I was also influenced by Naomi Wolf’s ‘The Beauty Myth’ (1990) as I was reading it for my dissertation. It mentions theories of how feminine beauty is used as a method of subjugation and highlights the pressure inflicted on women to conform to men’s idea of beauty. This allowed me to conceptualise why others perform ‘femininity’ so firmly and how performing gender in this society is not only beneficial but women are often penalised for not doing so. This informed the theories of my project and influenced my decision making at every turn of my project.

Methodology

My individual method of enquiry is to first allow my sources / things I'm interested in guide me to a subject matter. In this instance I retained inspiration from my last project that tackled issues of uncomfortability in the body. This evolved to my current experience of uncomfortability with my body in presenting gender. I always draw from my experiences of the moment to make my work. I then decided on the path of criticising these signifiers of ‘femininity’ as signifiers of ‘beauty’ by analysing, dissecting, and inverting the meaning of these products. My intent was to make the audience feel the discomfort I feel when I contemplate performing gender. This is how I came up with the pictures that later evolved to video after I uncovered that it would be a more effective tool in ensuring an audience would be uneasy.

The process of my project involved selecting a ‘product’ (for example lipstick), wearing it in an extreme way (i.e all over my face), and then performing it on camera. I did this many times with many different ‘products’ using photography as my medium and editing in post. After January, I moved away from static images and into video, where I applied the same methodology. I used an old tape camera with an aspect ratio and vintage feel to match the monitors at uni. All the while I was collecting audio. I used a standard mic and a contact mic and recorded various noises. For example, I recorded a gate I liked the sound of, kicking a bottle around, as well as more thematically related sounds like playing with makeup brushes/nail files. I also recorded more peculiar noises like people arguing on the street, sex toys and urination to splice in and create a more uncomfortable atmosphere with the audio. After I had everything, I began to edit in a way that was in line with my concept and similar to my photos; saturated and exaggerated.

Recording

Because of the medium I chose, it was very difficult to record my progress in the middle of creating the work. If I saw a flaw I would simply iron it over to create my finished product. Of course I encountered hurdles, like having to re-record audio because of interference or constantly going back to re-edit my video to be better, but none of that resulted in ‘findings’ only the latest edit of the work. I do have some works that didn’t make the cut, notably the photographs and some videos, all highlighted throughout my blog.

Planning

In order to achieve all that I wanted to get done I had to make a comprehensive plan in January. This included time for research, time for filming/recording, time for editing, and time to install. There were many occasions where I had to adapt my plan as hurdles began to emerge. For example, I had a hard time figuring out how exactly I wanted my edit to look, in this case I referred to Patrick and he guided me in the right direction (as he did every time I was stuck). I had to go back and reflect in order to make progress and accommodate this decision.

Throughout my project I managed to not stray too far from my schedule in which I wanted myself to progress. The only thing I didn't account for was a margin of error, for example on one of the days of editing I saved my file in the wrong format and it corrupted, losing me 9 hours of editing work. While this was frustrating and put me behind a tight schedule I still managed to accomplish all that I set out to do.

As for budget I used cheap materials like nails and eyelashes and used equipment and software as provided by the university so the budget was never much of a concern.

Reflection and Evaluation

I believe this project to be my most successful yet, it felt like a culmination of all that I have learnt from my other projects here with an extra layer of final year ambition. I encountered hurdles such as not having the experience and know-how to operate curtain apparatus like specific recorders and mics. However, I persevered and managed to emerge with my first ever comprehensive audio pieces. From this project I learnt the importance of sound in creating an environment for installations. Furthermore, towards the end of my filming section I began to experiment with an object that isn't necessarily a beauty product: the little mirrors. Although they are intended to connote vanity and are used in conjunction with red lipstick to highlight their femininity, it did make me realise that there is a necessary expansion of objects of study used. Once I opened that floodgate, I began to think about other objects and how they can be used and maybe even relation with my affinity for wearable art. I began to think about a project where I can make intimate feminine items like lingerie and bras out of ‘ugly’ things like bin bags or dangerous things like glass. This way, I can make commentary on the superficiality and fragility of femininity well as the harm in societies that need to constantly perpetuate hard gender boundaries. I will once again perform them and add audio in this manner. I also began to think how I could expand the performance further by participating in other spaces, perhaps a public space. Furthermore I believe the method of installation can be enhanced, while i'm not sure how, I am excited to discover in my future projects and endless possibilities. I am happy with the fact that I hit a slight hurdle with my experimentation with photography and then knew it was necessary to move to a different medium, doing so with ease. I am pleased that my critical decision making has evolved in this manner. I believe this project to be a great addition to my practice and a successful degree show.

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baylornonwovenstructures · 1 year

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youtube

Artist of Inspiration: Simone Leigh

As I reflect about racism and representation within the academic space this week inspired by the new statues dedicated on campus on Tuesday and imagine the challenges that individuals faced then, and continue to face now when embodying otherness, I am immediately reminded of the powerful work of contemporary artist Simone Leigh and I felt compelled to share her work with you here.

Matthew Marks Gallery, one of several galleries that represent the work of Simone Leigh, describes it like this:

"Over the last twenty years Simone Leigh has created a multi-faceted body of work incorporating sculpture, video, and installation, all informed by her ongoing exploration of Black female-identified subjectivity. Leigh describes her work as auto-ethnographic, and her salt-glazed ceramic and bronze sculptures often employ forms traditionally associated with African art. Her performance-influenced installations create spaces where historical precedent and self-determination commingle. “I am charting a history of change and adaptation,” the artist has written, “through objects and gesture and the unstoppable forward movement of Black women.”

Video/Images above, from top:

Simone Leigh was the winner of the 2018 Hugo Boss Prize. On the occasion of that important honor, she created an exhibition and this video was produced of her speaking about the work she was making for that show. Maybe you too will feel inspired hearing the artist talk about sculpture in her studio? Check it out!

Sphinx

Brick House, 2019, bronze, 196" x 114" (Learn more about this incredible project here.)

Hortense, 2016, Terracotta, India ink, porcelain, glass beads, 14-karat gold luster, epoxy, 26 × 16 × 16 inches

#SimoneLeigh #artistofinspiration #Youtube

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celfrhianhopkinsart · 2 years

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The wearing of worn hills intrigues me. This has led me into a collaboration with Kerry Collinson to create a patchquilt that can be worn in a performative way. Performance art is intriguing to me as I have extensive experience of public speaking through my coaching work but little experience of performing for the sake of art. I feel that the narrative and auto ethnographic genres are better suited to charting my true artistic identity. It was a good exercise however and allowed me an opportunity to teach Kerry the craft, brainstorm concepts around unity, practice working in unity and create a blanket to cover over our ideas and embody our connection.

The prints that Kerry chose did not tie in with my theme, however this was of little consequence as I contemplated ways of intertwining our binary, creative minds with this singular formed cloth. This intertwining concept is attached to my fields of thought and in particular to the borders that segment fields on mountains. Though perilous, barbed wire fencing protects a farmers livestock from roaming and runs in lines parralel to the fields. This juxtaposes metal and cloth, matt and shine, cold and warm.

In my own family research I discovered a beautiful photo post modernist era of the effort farmers made to rescue stray sheep who crossed over the hedgerow borders up onto the mountains in bleak weather. Livestock was valuable for meat, wool and lambing. Jumping from one patch into another could cost the life of a sheep.

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4th-space-poetic-threads · 3 years

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Ethnographic Poem: ‘Re-searching the 4th Space’

This is a poem I wrote in March of 2019. It is an auto-ethnographic poem about my experience as a practice led researcher (and journey from June 2010 until early 2021).

I undertook a doctoral research inquiry into the collaborative creative process (emergent space and subsequent transformations) between artists, people with their communities and institutions. This poem was written along the way, and reveals a process of critical, reflexive, relational and performative inquiry: that led me to re-visit and “re-search” the places, the sites of practice, the collaborative creative projects, interconnected webs of relationships, as well as spaces I thought I knew. Further, how this generated new insights in praxis.

The poem is made of a number of parts that revealed themselves over the course of the research. It includes embodied narrative with my own self discoveries and autobiography as the researcher, generating auto-ethnographic based text in relation to the research, as well as (auto)ethnographic performance with mask and photography. The poetic text and imagery reveals the dynamic overlays and interplays between them. The image sequence performed in the place where one of the significant research discoveries and interconnected narratives (of women artist/practitioners), that further led to the writing of ‘Bone Poems’ (see Prince, 2018).

Re-searching the 4th Space

Part 1: In the beginning

This story begins with a mask, at the end, she appeared

through her

the story unmasked

now re-told through me.

II.

It took me years to find her to shatter and re-search what I thought I knew and for all the pieces to come together anew.

III.

I stumbled on a messy web a tapestry of dynamic interconnections

IV.

I saw the butterfly not caught but shifting spaces of change.

I saw relationships interwoven over time, place people, projects and space connected in unexpected ways.

VI.

I was lost deep in the forest far left of centre in a “disorientating dilemma” I stumbled on the bone of munitions and radioactive waste,

VII.

Divergent narratives converged my perspective shifted and she opened a door.

VIII.

I learned the poetic and metaphoric can access dimensions that linear narratives do not.

IX.

Yet the weight of what I found I could not bear.

My body was wracked with adversity when my teacher appeared

chronic pain is a high-pitched scream that no-one else can hear

in the darkness, I found her here,

XI.

yet she was fully un-formed.

XII.

Dreaming and making her awakens something indescribable in me through her I move between worlds of researcher, practitioner and artist

(Alchemist, Storyteller, Sage, ‘Larakina’[1] or a Trickster, maybe) [2]

XIII.

Making her I found courage to speak the unspeakable to see the unseen.

Part 2 : The forgotten dark I.

I always wondered what the dark was in me the one that could not speak.

II. Dark roots take hold across my body, - who is she?

An ancestral thread in the maternal line the old ones do not speak.

III. I see her I see me I see dark deep ink eyes, that see in moonless nights.

Part 3: Raison d’etre

I. Out of the silent movement of flour and water, layers of paper and paint made upon my table she revealed herself to me.

II. Who is it, that is she?

III. Is she ‘La Loba’ [3] who sings back the shattered bones guiding me to each piece?

Is she the clue that fell from the mouth of my great Aunt the last oral trace my family barely speak?

Whine long and of no words all dirge then to us as children she would speak:

“you come from the Gypsy’s but don't tell a soul or taken you will be in the middle of night”

Woven thread of black hair others with ‘olive’ complexion Dutch migration, pathways of Sinti Romani?

My grandmother’s great aunt the Russian dancer they called “madame ruble” Is she thread of my Eastern European and Middle Eastern DNA?

An ancestral lineage who in us tremble with fear and yet not erased.

IV. Is she the life force that enters the souls of my feet?

Uncontrolled not on command not on begging but when the conditions

align the stars and moon alight from the soul to earth to my feet

is it she who rises in my belly, my chest through my eyes, and breath?

My body expands trembles and breaks her gravity pulls me closer.

Part 4: Other Ways to Be

Portrait of the author, photo by Richard Prince, 2019.

I. Is she Ataecina rising?

II. Or the wind of ‘el duende’[4] one my teacher named in me?

III. Is it she – the broken hill when I stood in-between

the ruin and mint bush?

Beneath the cedar pines not as alone as it seemed in the time I could not hear and before I had learned to speak?

Is she bride of ‘Bluebeard’ [3] blood appears

that will not let her sleep the one who will not be free until she turns the key?

IV. Is she Aletheia��[5] who tears transparent holes in my skin

Is it she that can see into other worlds and ways to be?

Part 5: The un-concealed

I. Guardian of dreams and metaphor, storyteller of transformation,

II. Both that which is revealed and concealed the unexpected and interconnected lead me to abandoned train tracks and a broken trail of bones [6]

III.

I am still haunted by a single question

IV.

“Why are there men in white suits testing our soil” asked the two women who lived down the street?

I re-opened unanswered questions I bit the apple unknowingly I ate the fruit.

V. I search and (re) search a landscape and stories I thought I knew.

Barbed wire, surveilled spaces secret places questions lay in boxes versions of the truth spun in webs

breathe in breathe out, soil of life

breathe in breathe out, light of death.

VI. Why did our superiors instruct us not to speak ? VII. Why were the two women’s questions erased? Who will know the intentional ‘empty spaces’ in the final government data and reports ?

VIII. A crack is revealed stories that were concealed in their multiplicity, now bend towards the light.

IX. Amidst institutional resistance, my relationships with the artists turned impenetrable stone for it was not the community alone, but artists who worked with these communities who also carried hidden stories of the bone.

Sensory Poetic Relationship Mapping (SPRM) experiments by the author, photo by the author, 2015.

Moving, singing, making an ‘aesthetic space’[7] a theatre of relationships mapped out on my kitchen table

insights in practice interweave theory, and bleeds into practice changing me

a theatre of the 4th Space enacted and all that lays in-between.

XI.

Witness to the configurations of transformations taking place, those that cannot be seen

nor measured (by linear means) the ephemeral and that which is still yet to be.

XII. The illegitimate, erased, the undocumented buried, do not see the light

flowers in the desert that bloom in the deep of night

here in Western Sydney amidst toxic waste sites

stories from women who saw the ‘Bluebeard’[8] now speak, beneath us out of ‘sight’

the water still flows those that we do not know and have not yet come to know are all legitimate transformations.

Footnotes

[1] Hodge, B., G. Coronado, F. Duarte and G. Teal (2010). Chaos theory and the Larrikin Principle: Working with organisations in a Neo-Liberal world. Advances in Organizational Studies. Egypten, Liber, Copenhagen Business School Press.

[2] Irwin, R. (2015). "Becoming A/r/tography." Studies in Art Education 54(3): 198-215.

[3] See: Estés, C. P. (1995). Women Who Run With the Wolves. New York, Ballantine Books, The Random House Publishing Group.

[4] This references teachings I received in oral transmission and experiential exercise with Michael Meade. We went into the forest and were each given a word on wood to work with for the next 5 days, the word I received in this practice was ‘Duende”. This was followed by a profound personal experience on the 5th day that was shared with Michael and he said was the ‘duende’. This term is discussed at length by poet and writer by Fredrico Garcia Lorca in ‘the practice and theory of duende’ see https://www.youtube.com/watch?v=sCbus6UHKD4 . It is discussed at length by Clarissa Pinkola Estes, (1992, 1995: p.20 p. 519) who refers to ‘El duende’, her work specifically is discussed further in this overarching statement in ‘Old Stories and New Eyes”.

[5] I acknowledge a conversation with Dr Fiona McAllan who introduced Aletheia “the most important Greek counterpart of our ‘truth’ “(Wolenski, 2004, p. 341) to me.

[6] Teachings on retrieving the Bone received in oral transmission in teachings “Original Voice” with Clarissa Pinkola Estes in Colorado, 2016.

[7] See: Boal, A. (1995). The Rainbow of Desire: The Boal Method of Theatre and Therapy. London, Routledge.

[8] See: the story of the Bluebeard as retold by Clarissa Pinkola Estés (1992)

Further Links:

Prince, C. (2018) ""Bone Poems: Listening and Speaking from the Ground", Ethnographic Edge Vol 2

http://tee.ac.nz/index.php/TEE/article/view/33/24

Podcast reading of poem 1 from ‘Re-searching the 4th Space’

https://www.podomatic.com/podcasts/wildazurebutterfly/episodes/2020-09-23T04_12_48-07_00

#4thSpace ethnographicpoetry #(auto)ethnographic performance #autoethnography

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alwaysalreadyangry · 3 years

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most of the UK reviews i’ve read of martin eden have been a disappointment, tbh. i don’t know if this is because critics have been busy with cannes or because outlets here just don’t have the space, or because it’s kind of seen as old news. i have seen no real engagement with the politics or form beyond a couple of cursory lines, and it’s a shame because... i think it’s really rich wrt those elements?

so i am looking again at the (wonderful) review from film comment last year and it’s such a shame that it’s not available freely online. so i thought i’d post it here behind a cut. it’s long but worth it imo (and also engages really interestingly with marcello’s other films). it’s by phoebe chen.

COLLECTIVE CONSCIOUSNESS Jan 3, 2020 BY PHOEBE CHEN

EARLY IN JACK LONDON’S 1909 NOVEL MARTIN EDEN, there is a scattering of references to technical ephemera that the 20th century will promptly leave behind: “chromos and lithographs,” those early attempts at large-scale reproduction; “a vast camera obscura,” by then a centuries-old relic; a bullfight so fervid it’s like “gazing into a kinetoscope,” that proto-cinematic spectacle of cloistered motion. These objects now seem like archaic curios, not much more than the flotsam of culture from the moment it shifted gears to mass production. It’s a change in scale that also ensnares the novel’s title character, a hardy young sailor and autodidact-turned-writer-célèbre, famously an avatar of London’s own hollowing transmutation into a figure for mass consumption. But, lucky him—he remains eminent now on the other side of a century; chance still leaves a world of names and faces to gather dust. Easily the most arresting aspect of Pietro Marcello’s new adaptation is its spotlight on the peripheral: from start to end, London’s linear Künstlerroman is intercut with a dizzying range of archival footage, from a decaying nitrate strip of anarchist Errico Malatesta at a workers’ rally to home video–style super 16mm of kids jiving by an arcade game. In these ghostly interludes, Marcello reanimates the visual detritus of industrial production as a kind of archival unconscious.

This temporal remixing is central to Marcello’s work, mostly experimental documentaries that skew auto-ethnographic and use elusive, essayistic editing to constellate place and memory, but always with a clear eye to the present. Marcello’s first feature, Crossing the Line (2007), gathers footage of domestic migrant workers and the nocturnal trains that barrel them to jobs across the country, laying down a recurring fascination with infrastructure. By his second feature, The Mouth of the Wolf (2009), there is already the sense of an artist in riveting negotiation with the scope of his story and setting. Commissioned by a Jesuit foundation during Marcello’s yearlong residency in the port city of Genoa, the film ebbs between a city-symphonic array and a singular focus on the story of a trans sex worker and her formerly incarcerated lover, still together after 20-odd years and spells of separation. Their lives are bound up with a poetic figuration of the city’s making, from the mythic horizon of ancient travails, recalled in bluer-than-blue shots of the Ligurian Sea at dawn, to new-millennium enterprise in the docklands, filled with shipping crates and bulldozers busy with destruction.

Marcello brings a similar approach to Martin Eden, though its emphasis is inverted: it’s the individual narrative that telescopes a broader history of 20th-century Italy. In this pivotal move, Marcello and co-writer Maurizio Braucci shift London’s Oakland-set story to Naples, switching the cold expanse of the North Pacific for the Mediterranean and its well-traversed waters. The young century, too, is switched out for an indeterminate period with jumbled signifiers: initial clues point to a time just shy of World War II, though a television set in a working-class household soon suggests the late ’50s, and then a plastic helicopter figurine loosely yokes us to the ’70s. Even the score delights in anachronism, marked by a heavy synth bass that perforates the sacral reverb of a cappella and organ song, like a discotheque in a cathedral. And—why not?—’70s and ’80s Europop throwbacks lend archival sequences a further sense of epochal collapse. While Marcello worked with researcher Alessia Petitto for the film’s analog trove, much of its vintage stock is feigned by hand-tinting and distressing original 16mm footage. Sometimes a medium-change jolts with sudden incongruity, as in a cut to dockworkers filmed in black and white, their faces and hands painted in uncanny approximations of living complexions. Other transitions are so precisely matched to color and texture that they seem extensions of a dream.

Martin’s writer’s optimism is built on a faith in language as the site of communication and mutual recognition. So follows his tragedy.

Patchworked from the scraps of a long century, this composite view seems to bristle against a story of individual formation. It feels like a strange time for an artist’s coming-of-age tale adapted with such sincerity, especially when that central emphasis on becoming—and becoming a writer, no less—is upended by geopolitical and ecological hostility. At first, our young Martin strides on screen with all the endearing curiosity of an archetypal naïf, played by Luca Marinelli with a cannonballing force that still makes room for the gentler affects of embarrassment and first love. Like the novel, the film begins with a dockside rescue: early one morning, Martin saves a young aristocrat from a beating, for which he is rewarded with lunch at the family estate. On its storied grounds, Martin meets the stranger’s luminous sister, Elena Orsini (Jessica Cressy), a blonde-haloed and silk-bloused conduit for his twinned desires of knowledge and class transgression. In rooms of ornate stucco and gilded everything, the Orsinis parade their enthusiasm for education in a contrived show of open-mindedness, a familiar posture of well-meaning liberals who love to trumpet a certain model of education as global panacea. University-educated Elena can recite Baudelaire in French; Martin trips over simple conjugations in his mother tongue. “You need money to study,” he protests, after Elena prescribes him a back-to-school stint. “I’m sure that your family would not ignore such an important objective,” she insists (to an orphan, who first set sail at age 11).

Anyone who has ever been thrilled into critical pursuit by a single moment of understanding knows the first beat of this story. Bolting through book after book, Martin is fired by the ever-shifting measure of his knowledge. In these limitless stretches of facts to come, there’s the promised glow of sheer comprehension, the way it clarifies the world as it intoxicates: “All hidden things were laying their secrets bare. He was drunk with comprehension,” writes London. Marcello is just as attentive to how Martin understands, a process anchored to the past experiences of his working body. From his years of manual labor, he comes to knowledge in a distinctly embodied way, charming by being so literal. At lunch with the Orsinis, he offers a bread roll as a metaphor for education and gestures at the sauce on his plate as “poverty,” tearing off a piece of education and mopping up the remnants with relish. Later, in a letter to Elena, he recounts his adventures in literacy: “I note down new words, I turn them into my friends.” In these early moments, his expressions are as playful as they are trenchant, enlivened by newfound ways of articulating experience. His writer’s optimism is built on a faith in language as the site of communication and mutual recognition. So follows his tragedy.

One of Marcello’s major structural decisions admittedly makes for some final-act whiplash, when a cut elides the loaded years of Martin’s incremental success, stratospheric fame, and present fall into jaded torpor. By now, he is a bottle-blonde chain-smoker with his own palazzo and entourage, set to leave on a U.S. press tour even though he hasn’t written a thing in years. His ideas have been amplified to unprecedented reach by mass media, and his words circulate as abstract commodities for a vulturine audience. For all its emphasis on formation, Martin Eden is less a story of ebullient self-discovery than one of inhibiting self-consciousness. There is no real sense that Martin’s baseline character has changed, because it hasn’t. Even his now best-selling writing is the stuff of countless prior rejected manuscripts. From that first day at the Orsini estate, when his roughness sticks out to him as a fact, he learns about the gulf between a hardier self-image and the surface self that’s eyed by others.

WITH SUCH A DEEPLY INHABITED PERFORMANCE by Marinelli, it’s intuitive to read the film as a character study, but the lyrical interiority of London’s novel never feels like the point of Marcello’s adaptation. Archival clips—aged by time, or a colorist’s hand—often seem to illustrate episodes from Martin’s past, punctuating the visual specificity of individual memory: a tense encounter with his sister cuts to two children dancing with joyous frenzy; his failed grammar-school entrance exam finds its way to sepia-stained shots of a crippled, shoeless boy. These insertions are more affective echoes than literal ones, the store of a single life drawn from a pool of collective happening.

But, that catch: writing in the hopes of being read, as Martin does (as most do), means feeding some construct of a distinctive self. While the spotlight of celebrity singles out the destructive irony of Martin’s aggressive individualism, Marcello draws from Italy’s roiling history of anarchist and workerist movements to complicate the film’s political critique, taking an itinerant path through factions and waves from anarcho-communism in the early 1900s to the pro-strike years of autonomist Marxism in the late ’70s. In place of crystalline messaging is a structure that parallels Martin’s own desultory politics, traced in both film and novel through his commitment to liberal theorist Herbert Spencer. Early on, Martin has an epiphanic encounter with Spencer’s First Principles (a detail informed by London’s own discovery of the text as a teen), which lays out a systematic philosophy of natural laws, and offers evolution as a structuring principle for the universe—a “master-key,” London offers. Soon, Martin bellows diatribes shaped by Spencer’s more divisive, social Darwinist ideas of evolutionary justice, as though progress is only possible through cruel ambivalence. Late in the film, an image of a drunk and passed-out Martin cuts to yellowed footage of a young boy penciling his name—“Martin Eden”—over and over in an exercise book, a dream of becoming turned memory.

In Marcello’s previous feature, Lost and Beautiful (2015), memory is more explicitly staged as an attachment to landscape. Like Alice Rohrwacher’s Happy as Lazzaro, Lost and Beautiful plays as a pastoral elegy but lays out the bureaucratic inefficiency that hastens heritage loss through neglect. Rolling fields make occasional appearances in Martin Eden, but its Neapolitan surroundings evoke a different history. Far from the two oceans that inspired a North American tradition of maritime literature, the Mediterranean guards its own idiosyncrasies of promise and catastrophe. Of the Sea’s fraught function as a regional crossroads, Marcello has noted, in The Mouth of the Wolf, a braiding of fate and agency: “They are men who transmigrate,” the opening voiceover intones. “We don’t know their stories. We know they chose, found this place, not others.” Mare Nostrum—“Our Sea”—is the Roman epithet for the Mediterranean, a possessive projection that abides in current vernacular. Like so many cities that cup the sea, Naples is a site of immigrant crossing, a fact slyly addressed in Martin Eden with a fleeting long shot of black workers barreling hay in a field of slanted sun, and, at the end, a group of immigrants sitting on a beach at dusk. Brief, but enough to mark the changing conditions of a new century.

Not much is really new, however: not the perils of migration, nor the proselytizing individualists, nor the media circus, nor the classist distortions of taste, nor, blessedly, the kind of learning for learning’s sake that stokes and sustains an interest in the world. Toward the end of the film, there is a shot of our tired once-hero, slumped in the back seat of a car, that cuts to sepia stock of children laughing and running to reach the camera-as-car-window, as if peering through glass and time. It recalls a scene from Wim Wenders’s Wings of Desire, which leaps backward through a similar gaze, when the weary angel Cassiel looks out of a car window at the vista of ’80s Berlin and sees, instead, grainy footage of postwar streets strewn with rubble in fresh ruin. Where human perception is shackled to linearity, these wool-coated and scarfed seraphs—a materialization of Walter Benjamin’s “angel of history”—see all of time in a simultaneous sweep, as they wander Berlin with their palliative touch. Marcello’s Martin Eden mosaics a view less pointedly omniscient, but just as filled with a humanist commitment to the turning world, even as Martin slides into disillusion. All its faces plucked from history remind me of a line from a Pasolini poem: “Everything on that street / was human, and the people all clung / to it tightly.”

Phoebe Chen is a writer and graduate student living in New York.

#martin eden #film

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art-priestess · 4 years

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Simone Leigh (born 1967) is an American artist from Chicago who works in New York City in the United States. She works in various media including sculpture, installations, video, performance, and social practice. Leigh has described her work as auto-ethnographic, and her interests include African art and vernacular objects, performance, and feminism. Her work is concerned with the marginalization of women of color and reframes their experience as central to society. Leigh has often said that her work is focused on “Black female subjectivity,” with an interest in complex interplays between various strands of history.

"I came to my artistic practice via the study of philosophy, cultural studies, and a strong interest in African and African American art, which has imbued my object and performance-based work with a concern for the ethnographic, especially the way it records and describes objects." - Simone Leigh.

Leigh combines her training in American ceramics with an interest in African pottery, using African motifs which tend to have modernist characteristics. Though Leigh considers herself to be primarily a sculptor, she recently has been involved in social sculpture, or social practice work that engages the public directly. Her objects often employ materials and forms traditionally associated with African art, and her performance-influenced installations create spaces where historical precedent and self-determination co-mingle. She describes this combination representing "a collapsing of time." Her work has been described as part of a generation's reimagining of ceramics in a cross-disciplinary context. She has given artist lectures in many institutions nationally and internationally, and has taught in the ceramics department of the Rhode Island School of Design.

Untitled, 2008

Head with Cobalt, 2018

No Face (House), 2017

#Simone Leigh #womans art #modern art #21st century art #female artists #women in art history #black artist #black art #black women #sculpture #african-american art #african art #american artist #women artists #art #contemporary art #about artist

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fanhackers · 5 years

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The above video clip shows my interaction with EVE performer Nina Samuels, who demands I approach the ring before chastising me for my lack of respect, reminding me that she is a media star. Yet my (auto)ethnographic research on fan performance and participation at EVE events leads me to question the extent to which I should also perform as a fan. While I am currently drafting work based on this interaction with Samuels, does my fannish performance here indicate some kind of coercion or manipulation of the research environment? Or am I simply acting as I would as a “normal” fan, to then reflect on it later as a scholar?

Tom Phillips, Ethics, Performance, and Identity in Aca-Fan Research, In Media Res.

#fan studies #quotes #positionality #acafandom #wrestling #wrestling fandom #methodology #ethics #performance #identity

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dyspraxicme · 6 years

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Happy Dyspraxia Awareness Week!

Our 'Dyspraxia Awareness Week 2018' event will take place this Saturday. Where you will have the chance to meet other dyspraxics and to find out about dyspraxia. Performer Kaiya Stone and artist Beccie Ford will be presenting their work. Beccie will also deliver a creative workshop.

About Kaiya and Beccie:

Kaiya Stone is a London-based but Yorkshire born writer, performer and filmmaker. She is a co-founder of Transgress where she has collaborated on a number of shows including: Binding (Burton Taylor Studio, Oxford Playhouse), Not Your Nice Girl (, HOTTER and The Other Team. Her first short film was released by Canvas. Her debut solo show Everything Is Going To Be KO premiered at Gerry’s Studio, Theatre Royal Stratford East, with support from the Old Vic New Voices scheme. It covers her experiences with late diagnosis of dyslexia, dyspraxia and ADHD and ran at the Edinburgh Fringe Festival 2018.

She will be performing a story about her days at school with dyspraxia and an unexpected trip to London.

Beccie Ford, Ceramic Artist & Inclusive Arts Practitioner, will be talking about her dyspraxia diagnosis and her current field of research. Recent research has been centred around creating art in nature using natural materials with people with hidden disabilities, and through this process of creativity challenging the associated stigmas. Beccie will discuss some of her findings, and following this will engage participants in a short creative-response workshop. Beccie studied a BA in studio ceramics at Falmouth College of Art, and has recently completed an MA in Inclusive Arts Practice at the University of Brighton. Although currently living in Sussex, Beccie is soon moving to Wales to continue her research and art practice from both a participatory and auto-ethnographical perspective.

This

Saturday 13th October 2018

From 13:30 – 15:30pm

At:

The St Pancras & Somers Town Living Centre

2 Ossulston Street

Kings Cross

London

NW1 1DF

Tickets here:

https://www.eventbrite.co.uk/e/dyspraxia-awareness-week-2018-tickets-46680395319

#dyspraxia dyspraxic #dyspraxia #dyspraxic

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pedestrianessay · 3 years

Video

vimeo

In response to the text Spry Tami, “Performing Autoethnography: An Embodied Methodological Praxis.”

This is an exercise of autoethnographic essay.

It frames my personal experience as a Latinx immigrant woman, settling temporarily in Canada, the United Arab Emirates and Finland, amid the COVID-19 global border closures. Departing from a camera lens perspective, the paper approaches the experience of being a female immigrant under isolation and cultural alienation while staying stranded for indefinite time in the cities of Abu Dhabi and Helsinki waiting to return to Montreal. The auto-ethnographic narrative departs from everyday observations of homeless and settlement to embrace the definition of rootless solidarity. The essay reflects upon concepts of emotional connection, migration, silence, walk, race, and feminism. The auto-ethnographic narrative departs from everyday observations of homeless and settlement to embrace the “new normal” and physical distance from family and friendships.

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celfrhianhopkinsart · 2 years

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Intended Methodologies

Historical analysis

Cultural analysis

Narrative analysis

Artist research

Artistic creations

Auto ethnographic performance, video, voice and writing.

Action Research

Grounded theory

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professionalcreepin · 4 years

Text

Week 3

Texts

Brooker, P., Barnett, J., & Cribbin, T. (2016). Doing social media analytics. Big Data & Society, 3(2), 2053951716658060. https://doi.org/10.1177/2053951716658060

Reyman, J., & Sparby, E. (2020). Introduction: Toward an Ethic of Responsibility in Digital Aggression. In J. Reyman & E. Sparby, Digital Ethics: Rhetoric and Responsibility in Online Aggression (pp. 30-43). Routledge.

Trottier, D. (2018). Privacy and Surveillance. In J. Burgess, A. Marwick, & T. Poell, The SAGE Handbook of Social Media (pp. 463–478). SAGE Publications Ltd. https://doi.org/10.4135/9781473984066.n26

Zimmer, M. (2010). “But the data is already public”: On the ethics of research in Facebook. Ethics and Information Technology; Dordrecht, 12(4), 313–325. http://dx.doi.org.proxy1.cl.msu.edu/10.1007/s10676-010-9227-5

The primary theme of the week is privacy, specifically privacy as a mutable, co-constructed value in social [networking] spaces. To draw from Trottier’s “Privacy and Surveillance” chapter, privacy is often considered in both a legal and a cultural sense (my interest here is in the cultural), but it’s also frequently considered as an individual value or right (2). For example, thinking of “the privacy of one’s own home” constructs privacy as an individual (or family unit-based) concern that explicitly excludes others. Social media spaces, though, as evolutions of the social values of Web 2.0 like last week’s readings discussed, is somewhere in-between public and private. As Zimmer writes in his critique of the “Tastes, Ties, and Times” study, users may voluntarily upload personal information to a “public” platform like Facebook, but they may also still reasonably expect that information to remain within certain publics (like their university network, their non-work friend group, their gaming circle, etc.). This makes consent and privacy ethics in research more complicated, especially when that intended-to-be-ephemeral information is recorded and shared with audiences stretching beyond the initial intended public and past the intended lifespan of the information. (The “right to be forgotten” and the perennial interest in digging up embarrassing or offensive posts from internet users’ pasts seems relevant here.)

In response to these complicated ethical concerns about privacy, the authors (independently) proposed three approaches. Trottier considers privacy through social co-surveillance or what he names “participatory surveillance” (5). In this understanding, participants willingly upload personal information to public platforms, knowing that we will be surveilled both by other users and by the companies who own the platforms, because there are enough benefits to doing so. The ethical questions center on the unanticipated uses of the data-fied content participants share, especially in imbalanced power relationships such as when a platform collects data about the social media user that the user may not know about and can’t access (@ Facebook and TikTok). Privacy, or control over the spread and lifespan of one’s data, then becomes a luxury for those who have the time and literacies to manage their online identities effectively and dodge surveillance creep (11). For Trottier, privacy is important, but it’s also critical to address these issues of surveillance and media literacy education more broadly.

Zimmer’s approach is more narrowly focused on individual privacy rather than broad-scale surveillance but advocates a dignity-based approach (321). The T3 researchers believed they would do no harm in their study but thought only of what malicious people could do with the collected data rather than the ethics of collecting it in the first place. The dignity-based approach addresses the potential violation of having one’s personal information decontextualized, recorded, and shared beyond one’s control as part of a dataset. Linking back to the idea of online spaces as a public, a dignity-based approach reifies that not all publics have the same expectations for permeability, longevity of information, and behaviour. This dovetails with the questions Reyman and Sparby ask about norms, expectations, and community definitions to guide their ethics of digital spaces. Taking these discussions about privacy and the ethical questions they raise as a guide, I have three clusters of questions:

Asymmetrical Connections on Social Media: As both Trottier and Zimmer discuss, social media users have different expectations of with whom they are interacting and sharing data in online spaces. On platforms like Facebook, this connection most often has to be accepted by both parties in an interaction--users can and usually do restrict content solely to their “friends” or sometimes “friends of friends.” Content is shared with an expectation of personal connection. This contrasts with other platforms like Twitter or Reddit where content is shared with others interested in the topic but not necessarily with expectations of personal connection. This is one reason platforms like Facebook may feel more intimate and why research there is even more ethically complex. My interest here is in how community care and intimacy is enacted in these sorts of asymmetrical social media spaces without the expectation of an “irl” connection, like in the comments of Instagram posts made by public pages. Although these are entirely public-facing--anyone can see these comments without logging into Instagram--and the people commenting don’t know each other in the ways Facebook users know each other, they perform intimacy and care in ways that replicate those more private spaces. I’m thinking through how to ethically research this sort of private-public conversation.

Ethos of the Researcher: The T3 study used RAs to access information that was restricted to Harvard-only SM users, which is an unethical use of ethos. One approach to avoid inappropriate access to personal data would be to make a new, unaffiliated/unconnected account, ensuring that it was clearly visible to everyone that the account was collecting data for research purposes and to ensure that only truly “public” data was collected. However, in the context of researching marginalized communities, it matters a lot that I, as the researcher, am also a community researcher. This is a benefit and builds trust when doing (auto)ethnographic research, but it seems like it makes potential SM research more difficult. Reyman and Sparby ask “What are the ethical expectations users attach to the venue in which they are interacting?” (2). This ties into the asymmetrical connections and sub-cultural behavioral expectations in social media communities, but it also ties into the expectations of who is “allowed” to enter, contribute, and ask questions in these spaces.

Articulation of Research: Again, Reyman and Sparby ask, “Does the research definition of context match the way owners, users, or members might define it?” (2). The subjects of the 3T study were never asked for consent nor initially told that they would be a part of any research, much less given the opportunity to shape the research itself or their participation in it. When I’m thinking about visualizing data--which could be useful to show community ties--how do I do so in a way that avoids violating the privacy of individual participants or even small or more vulnerable clusters/communities?

#oc

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reflection101-blog · 4 years

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“Dance Your PhD” – Lucas Marie

vimeo

As a social activity hip hop dancing is not easily defined. Transnational and multifaceted, the activity is devoid of any formal organizational structure. This complex and diverse social field is governed, not by global institutions or offices, but instead by persons within their local contexts. Throughout its history, hip hop dancing has been understood (adopted, interpreted, and practiced) in many ways and these understandings vary across time and space. Using an anthropological and interpretive approach, my PhD research is an ethnographic study of hip hop dancers from three cities: New York, Osaka and Perth. Hip hop dancers perform their practice through embodiment and narrative, and what is interesting is that within each of these different cities hip hop is performed and understood in many different ways. For instance, each city has their own local history, languages, traditions and authorities. My research seeks to explore how hip hop dancers manage, construct and transmit their knowledge of hip hop within their local context, and how this is managed over time and space. It aims to share and articulate the processual nature through which hip hop dancers engage, expanding on our knowledge of culture and self, grounded in embodiment.

In this video I sought to perform hip hops inherent diversity and complexity. Combining the playful acrobatic dance moves of breakdancing, juxtaposed with a favorite classical piece of mine by Rachmaninoff, his prelude in g-sharp minor. I aimed to present a dance performance which does not fit neatly into established classifications of contemporary or classical dance and performance.

From my fifteen years of experience as a hip hop dancer, I have come to understand that hip hop is far from being a static or fixed thing that can be summarized, defined or understood in its entirety. Hip hop is a fluid, constantly evolving social field. With that being said, the intention of my study is not to prescribe grand theories in which to understand or “make sense” of hip hop, but instead, to share the real voices and experiences of various hip hop dancers around the world.

The research methods I employ, and which are included within the rubric of ethnographic fieldwork, consist of: participant observation, open-ended semi-structured ethnographic interviews, photographic evidence, and my own auto-ethnographic accounts. It is important to note that my own experience as an active hip hop dancer heavily shapes the research and its interpretations.

My study doesn’t profess to “know” the differences of hip hop between New York, Osaka and Perth. Instead, this research is an investigation in understanding how peoples within diverse and fluid social fields/practices manage issues of authority, identity, the transmission of knowledge, inclusion and exclusion. My main objectives are to identify the verbal, non-verbal and bodily narratives expressed by hip hop practitioners within their local context. Describe how dance and narrative, both as embodied discourses, (re)shape understandings within local hip hop communities. (i,e how do local understandings connect to the global hip hop scene?). And finally, analyze the social interactions across the wider social field of hip hop dancing. (i.e how are contested claims of authority, agency, and ownership negotiated by persons?) Likes: 8 Viewed:

The post “Dance Your PhD” – Lucas Marie appeared first on Good Info.

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anthonystudio3a · 5 years

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IPO - Now

Here’s the latest revision of my IPO for the second half of semester 2…

WHITI O REHUA - SCHOOL OF ART Independent Project Outline 213.341 Art Studio Research IPO template: Student Name: Anthony Fraser Student ID: 15221100 Amendment #: 3 Amendment date: 2/10/19 Rōpū Lecturers: Simon Morris & Jenny Gillham

Intent: (50-100 words):

To conduct an auto-ethnographic research-based inquiry into my own family situation, formulating responses that use whatever media seems appropriate. So far this has been photographic, but could use a variety of media. Some media that interest me and seem like they might be fitting of my purposes are print, sound and video. I feel that there is a natural progression from photography to these media, and I imagine that there could be a balance formed between archival material and work that I produce myself.

Background: (200-300 words):

Briefly describe what you did last semester, what you intend to develop from this work, and what (if anything) you are not going to continue to work with.

This past semester I’ve made photographic works that document and respond to aspects of my life that I consider to be quintessential parts of living in New Zealand. This work aimed to investigate aspects of New Zealand mainstream Pākehā culture, and to offer some kind of critique. I’m not sure entirely how successful this was, but as I learned more and developed more work, I became less interested in producing work that claimed any kind of finality in its assumptions, and less overtly critical. My more recent work was responding to everyday views from and within my domestic environment, and I’ve learned that questioning these more personal experiences seems more fulfilling, furtive and genuine than trying to critique larger cultural themes. My plan for the coming semester is to engage with matters that have personal emotional significance for me, and see what happens when I question them openly in a fine art context.

Method and resources: (100-200 words):

What do you intend to make (i.e., painting, sculpture, video, etc., etc.), and how (materials and processes). Do you need an individual studio space or can you use the shared space? What knowledge and skills do you need to gain, and what investigations do you plan to undertake?

I hope to produce photography, print media, and perhaps video and sound works to respond to lines of inquiry. I plan to investigate my own family history, recent and through further generations past, using the family archive and other archives if possible. Works responding to this research will hopefully come together in through an installation-based approach. There are still various avenues I intended to research that I haven’t yet had time for, such as a specific project researching my great-great grandfather’s job as a clown on National Radio. I’ll continue to use facilities all around CoCA, including the photography department, fine arts block, Te Ara Hihiko and perhaps more. I would like to develop my practice to being more installation-based and multi-media if I can find a way of combining these various media effectively. I need to continue my research into theories surrounding documentary, and other disciplines of art-making.

References:

Begin a list of a minimum of 6 references, four of which must be artists or artworks whose work is inspirational and whom you intend to continue to use to develop your own work, and two other references (text, music, film, other writing, etc.) Briefly describe how each reference is relevant to your own intended research.

Reference both texts and artwork images properly: you should use the system recommended for visual material on OWLL, which includes the artist’s name, the date of the artwork and a URL, book or exhibition note.

Edith Amituanai: #keeponkimiora

This book is very powerful. It is a documentary photographer getting to the heart of the politics of representation and taking an ethical approach to their field. Documentary photography has shady roots in New Zealand, and Amituanai is well aware of this. Furthermore, mainstream media organisations wield power when using various forms of representations (editorial, photographic, video), often to great harm. Amituanai is a voice singing another tune to the oft-negative representations of members of her community and communities like hers (non-Pākehā, low socio-economic, etc.). She provides positive images of people, often young people, in her community, gaining their trust, their consent, working with them to produce images they consider to be appropriate, together. She is an actively contributing to the decolonisation of New Zealand fine art spaces, and although this is not hat I intend my work to be about per se, role models like this are always in my mind whilst I’m making work. I wonder what Sontag or for that matter Spivak would have to say about her work.

Phillip Andrew Lewis: SYNONYM

This body of work responds to Andrew Lewis’ time in a drug rehabilitation centre where in his teens he was forcibly held against his will for 2 years. The organisation that held him is no longer in operation in the USA, but Andrew Lewis returned to multiple sites it used to run rehabilitation centres. Combining found objects, photography, graphic elements and performance-based works based on personal experience, Andrew Lewis has formed a large body of work in response to this.

Andrew Lewis employs a diverse range of media in his practice, which is surrounded by so many contexts. He investigates these physical, social, political contexts through various ways of making and curating. I plan to use a diverse range of media in my own work also.

Paul Pfeiffer: The Saints

Investigating British cultural identity through the emotionally charged arena of the football field, Pfeiffer manipulates scale in a highly effective manner. Playing recordings from the 2007 opening of Wembley Stadium of the crowd chanting various anthems throughout a largely empty gallery space, the viewer is immersed in the audio aspect of the work. There are some visual components, videos of football fans and matches from around the world, which add new layers of context. Pfeiffer’s careful process of selection will inform how I engage with the spaces I’m using, and which elements of works to include or edit out of installations.

Joanna Margaret Paul & Pascal Harris: Light on Things

This was an exhibition (and publication) of Joanna Margaret Paul’s work curated by her youngest son, Pascal Harris. It celebrates her work and life, yet is simultaneously drenched in the grief of a son for his mother. The exploration of these personal relationships though exhibition and printed matter has helped guide me through my own exploration of these matters in my work this semester.

Rachael Rakena: One man is an island

This and other works of Rachael Rakena have influenced what I’m making. The way she strips back the world that her subjects perform in, adding usually only one contextual element, gives her work a captivating presence. Keeping the strength of these aesthetics in mind, along with the personal nature of the content, will help to show me some direction when making work this semester. One can use personal stories to share ideas on larger narratives.

Amituanai, E. #keeponkimiora. Hastings: Hastings Art Gallery, 2018.

Andrew Lewis, Phillip. SYNONYM. Headlands Center For The Arts, San Francisco, 2017.

Harris, Pascal. Light On Things. Brett Mcdowell Gallery, 2016.

Pfeiffer, Paul. The Saints. The Junction, Engineers Way, Wembley, London, 2007.

Rakena, Rachael. One man is an island. Bartley + Company Art, Wellington, 2009.

In consultation with your lecturer, complete your IPO as following the template above.

Be mindful of the learning objectives for this course:

Students who successfully complete this paper should be able to:

• Outline, develop and undertake an independent project.

• Thoroughly investigate relationships between concepts, media and processes.

• Extend competence in self-directed inquiry and its application to the development of studio projects.

• Present their work for assessment in a considered and appropriate manner and contribute to critical discussion in relation to their own work and that of their peers.

Adhere to the recommended word lengths: your complete IPO should not exceed 500 words, plus references.

This is a document you will be asked to revisit, progress and develop numerous times this year, so always include your amendment iteration and date in the boxes above so you know which version it is.

0 notes

karnaai-blog · 5 years

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Perceptron — AI Assistant for Observational Research

Perceptron – AI Assistant for Observational Research

”Quant meets Qual” to give data-backed insights for real-world consumer behaviour

“95% of purchase decisions are made in the subconscious mind”

Famed author and Harvard Business School professor, Gerald Zaltman, says that 95% of our purchase decision making takes place in the subconscious mind. This makes sense to us because Nobel prize-winning psychologist, Daniel Kahneman, has proved with hard data evidence that we humans are essentially lazy users of our conscious brain. The subconscious part of our brain is very very powerful and perceptron plays an important role in such conditions. For instance, driving happens in an automatic mode for us. We can easily drive our way from home to work, all the while thinking about tasks ahead and without actually engaging our mind in the act of driving. Gerald argues that our preference for the brands that we choose and how we use these products also happens in the enigmatic layers of our deep subconscious.

“Tell me how AI can help us get implicit insights”

This is a common theme that has emerged in our conversations with clients. Today’s researchers want implicit insights, they want it fast and they want it backed by data. At Karna AI, this is the key theme on which we focus and one such solution that addresses this gap is PERCEPTRON.

Companies in the digital space are extremely avid users of market research techniques. For instance, the entire industry builds websites and apps by analyzing raw data of user behaviour through interaction logging services like Google Analytics. Armed with this data, product managers test multiple designs, understand the customer flow and make data-backed improvements.

But when it comes to the physical world, things become different. How does a company selling shaving equipment, bicycles, cigarettes, coffee etc, get Google Analytics like user behaviour and interaction data to base decisions on? The good news is that AI is bridging the gap between physical and real world to make this happen. Read on to know more about how we address this market gap with Perceptron — The AI assistant for Observational Research.

Perceptron — AI Assistant for Observational Research

An overview of how Perceptron can deliver insights that were just not possible to derive before.

Observational Research

Observing how people interact with products can yield useful insights to understand consumer needs and motivations, why they prefer a certain product over others and how a brand can evolve its messaging to generate higher impact. It is a common research practice which is today performed with the help of ethnographers or domain-skilled researchers who spend days or weeks observing respondents, noting down data points, capturing videos, asking questions and later provide a report that addresses key questions in the research brief.

Humans have limitations

Observing all the consumer interactions manually is a time consuming and cumbersome process. Humans can capture high-level data (like time taken to eat a subway sandwich) but find it difficult to capture minute data points (number of chews in eating a sandwich and average duration of those chews).

Presence of human keenly observing human can be unsettling for the research subject (the consumer) and can alter his behaviour. “To err is human” and researchers are no exception. Human researchers are prone to biases, fatigue, errors and judging the respondents on personal feelings.

“I want data and I want it fast”

Manual Observations are not scalable. A researcher would want her decisions to be based on a large sample of data (typically ~200 respondents) while human-based observations don’t scale very well (typically ~20 respondents). Manually intensive research projects have long turnaround times as it takes a lot of time to collect data, process it, finding relevant video sections etc. And of course, all these constraints result in the cost of the research exercise.

However, we acknowledge that ethnographers have a great deal of value to add. What we propose is that with a teaming up of man and machine, the entire research exercise can be improved.

Auto-Observational Research — A Case Study on trimming

Understanding how men trim beards and why certain products work!

This is a conceptual case study of how Perceptron is used for product testing and how can it help a beard trimmer brand to get a better understanding of its customers. What perceptron needs is hundreds of videos where bearded using different trimmers (say 100 respondents each for three trimmer variants A, B and C) for video analysis and product testing. PERCEPTRON performs facial coding of these videos which can be sourced by the client in-house, through an agency or through an online panel provider where respondents can record videos from their homes.

Once the videos are collected, the client research team and Karna AI engage with each other to understand the research objectives and accordingly develop a data collection protocol. For this particular case, the objective and protocol could be something like this:

Typical Objectives:

Understanding which of the trimmer variants (A, B and C) perform well and why

Understanding the typical user flow of a trimming operation for different trimming objectives — full beard trimming, french beard styling, beard shortening etc

Get data-backed answers for unique observations from the process

Deliverables and Output

With raw videos and data protocol as an input, Perceptron performs the analysis and returns all the interaction metrics in an excel file. Once armed with the raw data that captures in-depth interaction metrics for each second in time, the researchers can run analytics and answer their key questions.

The above graphic is a snapshot of user behaviour on ParallelDots’ website. This is a critical tool used by our digital marketing team to improve the user experience and drive higher conversion. With Perceptron, we are bringing such in-depth analysis to the domain of physical products.

Take your research game to the next level with Perceptron

By bringing Quant-like rigour into the largely Qualitative practice of observational research, Karna AI is pushing the boundaries of how researchers can tease out implicit insights.

Want to know how Perceptron will increase your revenue? Click here to schedule a free demo.

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