12th March- Collaboration Planning- How Text Lives-//content//

12th March-

Collaboration Content Planning

HOW TEXT LIVES

-Collaborative Exposition with performance artist Hannah Duffew and filmmaker Holly Davie
-Yallops, Norwich

Throughout the last unit my work was largely based on text interpretation & information. This was done both directly and indirectly as research fed greatly toward any visual aspects also as well as the written, although the written was often an extension of the visual. Therefore, this unit, my main collaboration will be an exposition into ‘How text Lives’ (Collaborating with NUA filmmaker alumni & a performance artist) showing at Yallops. This will investigate the differing contact one can have with information and the inaccessible nature of much critical writing along with the elite nature of the writing therefore. I will be curator and exhibitor for this project.

Therefore, for this exposition there will be a number of elements, each relating to a different sense. Touch, Smell, Sight, Hearing. This is a visualisation of the way that information takes over a person in both positive and negative ways. The piece of writing that is being manipulated will be written by myself and investigates the world we live in, focusing on the capitalist grasp and the loss of independent sense. 

Hannah will perform this piece of writing live, on repeat in whatever way she so wishes to, moving around the room. Holly will produce a silent film for the visualisation of the words. My work will be the writing of the piece along with the sourcing of the braille version and curation of the show. 

Therefore today I have been drafting the words that will form the base of the exposition. The 'text for interpretation'. 

DRAFTED TEXT-

We are known as the conscious industry. Someone said that once... we have fallen ill. The commodification of culture, art, has dictated our creative institutions and systems. Justify themselves, justify yourself, to the government. Pressure is exerted upon artwork, art, artwork programmes to progress toward social, environmental and economic improvement. The immeasurable cultural depth is reduced to a monetary figure. Monetary figure.  Enduring the elitist, colonial, western grasp that remains firmly around art. The world. Although this is unhealthy for cultural development of any country, it fails to stress the question of implemented responsibility. Artistically rich and beneficial pass times or programmes are expected to offer benefits to society as they do not return ‘physical’ (monetary) capital. The same is not expected from other industries under the government. This proves the devaluation of cultural development and enrichment through art. Although this forced expectation is negative, it does remind us of personal responsibility. That within creative spheres there should be a reduction of capital grasp and compromise to allow for extended ethical consideration. Within the social and environmental aims of the government, the art industry still stands liable for its place under the corporate systems of function. Therefore the non support of such to in turn reduce the oppression of the art industry on a government level. One aspect of this is the sustainability of art practices and industries they choose to support.  Art offers a bridge between thought, question and action however if the initial practice evoking that questioning is unsustainable and unethical then the work becomes a mockery of itself.