Perceiving Cultures

Autoethnography is a form of qualitative research where the researcher explores his or her own experience as a focus within the investigation and examination of cultures. It acknowledges the power of the researcher to explore more closely than others are able, and it connects the personal story to the participatory cultures.

“Autoethnography is an approach to research and writing that seeks to describe and systematically analyze personal experience in order to understand cultural experience.” (Ellis, Adams and Bochner 2011: np).

Before even being introduced to the notion of Autoethnography I had spent a considerable amount of time overseas and also having looked into the study of communication across cultures – where I mainly focused on addressing the issues involved in communication among people of different linguistic and “cultural” backgrounds.

In saying this one Scholar comes to mind…  Continue reading “Perceiving Cultures”

Week 1: Art | Craft | Research

The first workshop of this session circulated the idea of the creative process – that is engaging in that process of material thinking and creative research. Art, Craft and Research were the main spectacles in this weeks introduction where we were encouraged to outline how these notions were defined, differentiated and where binaries could be found. We then elaborated on how these facets have affected our previous works, drawing on how diverse characteristics are utilised within our own practice. Continue reading “Week 1: Art | Craft | Research”

Gojira (1954); Monster / Metaphor

gojira-with-bridges

At the start of this year I spend some time in Japan where for the first time I was engulfed by the means of Asian media. Anime, Cosplay, Gaming, Manga, you name it. While all adapting to the nation’s ‘Kawaii’ lifestyle. Contemporary forms of the nation’s popular culture, are not only forms of entertainment but also aspects to distinguish contemporary Japan from the rest of the modern world.

Prior to this week’s seminar I had not experienced any of the ‘Godzilla’ films especially that of Ishir Honda’s 1953 original ‘Gojira’. But interestingly enough I believe I was quite familiar with the narrative – to which an immense lizard-like monster creates havoc within the cityscape. But why is it, that I was so known to this story? Popular culture has since taken this notion of Gojira and has replicated, regurgitated and revamped it to suit and interest audiences today and as I aged I was always exposed to these kinds of media. Continue reading “Gojira (1954); Monster / Metaphor”

Week 15/16 (Exam Wk 1/2): Getting There

Before the appointed group meet-ups and bump in period for the project, I was able to talk to my Mother and Grandfather to gain more insight into their personal journey from Vietnam to Australia following the 2nd Indochina War (The Vietnam War). In doing this I am able to invest a personal side of myself into this work, in hopes to act as another catalyst for the project.

My Grandparents were persecuted, in having played a role in the South Vietnamese military during the war, making it difficult to provide a stable environment for their 5 (soon to be 6) child family. I was told about their experiences escaping the regime during the night in a boat built by my Grandfather himself. There were 40 people anticipated to climb on board but soon there was close to 100 present, all desperate to escape the conflict that had taken over the nation. During this time of despair, my Grandfather noted that so many factors were evident within the government, they were not focusing on the society around as it grew weaker and weaker. With these words I tried to imagine the setting of an overpopulated boat with no stable direction geographically and in it’s people who were now seeing themselves as ultimately stateless, and put them into words.

This is what I wrote:

Screen Shot 2017-06-19 at 5.54.15 pm

I wrote this text in a way that it would not be tethered to a specific event, in this case the Vietnam War, and could be received and relative in many ways for people who have experienced similar hardships. In our work we focus on the way refugees have been forced to the limits of their safety and rights and have therefore left their lives in search for another. We have intended to depict a physical environment to which these very things have happened, and with the story I have captured I hope it reinforces and resonates within it.

Sam and I were also able to meet as a pair before the first day of preparation within the gallery and discuss further into how we could display the narrative I had teased out of my discussion with my family. We liked the notion of the story being materialised through the paper and onto the space we had, conveying the reality that this is what the story looks like, and this is what is left after abandonment. We thought that as the paper stretch over the space, pieces of paper with the passage I wrote could also ascend. But, as it rose, sections and words would be removed accordingly, dissipating as it progressed. This would act as a reminder that because of what has happened, this is now the reality as it branches out into the space.

The meet ups were successful, all members liked the idea of this story and the depiction of it that Sam and I discussed. Having the story and concept of our work finalised put us in a great position and for once it was the technical and placement elements which needed to be mainly dealt with. One of the sessions David, Sam and I changed the orientation of the work but deemed unsuccessful due to placement issues and clarity.  So when we were all present in the last gathering we worked well as a team to pickup from our mistakes.  There were many elements that were built and worked upon during these remaining group gatherings such as:

  • Chloe and I were in charge of the reconstruction of the paper structure with the written passage attached
  • Placement of all elements within the space being, well balanced, effective and reinforcing of each other
  • Sam and David were able to iron the sheets, for a effective aesthetic
  • Chelsea edited the projected window image as a video file, whereby we then were able to modify in terms of lighting so it was in a way animated, not just still.
  • Having already recorded a live typing video of the text I composed, it was ready to be projected through the QUMI projector or digital photo-frame at the commencement of the paper branch. Where David heavily assisted  me in the set up and formatting of this content
  • Sam and I sourced some materials that were to be defined on top of the draped tables. Steph was able to present these items in a way that would communicate with each other effectively, bringing more substance to their intended depictions.
  • We as a group finalised the lighting together, where shadows of the paper are effectively displayed onto the walls

As a group we were able to complete these elements and at the same time jam during the construction of our finalised piece, elevating the more effective parts of the work. Critically analysing components we were adjusting, adding, subtracting and emphasising in the final work. We are all overall pleased with the result orientation wise and it’s conceptual design.

 

 

Week 14 (Recess): Building Upon Further

This week, workshops were not running but as a group we all came into the gallery to build further upon our project. This lesson we worked on jamming, to then tease some more interesting aspects to the work.

We mainly dealt with the physical aspects of the work this lesson and played around with multiple furniture placement within the space; using single, double sofas and different tables. In attempts to bring out the installation did not flow and there was just too much happening, looking more like a poorly lit living-room. Chloe’s window photograph was projected onto the wall which was effective and the group tried hanging actual furniture from the ceiling which was not. I feel the physical orientation at this stage though was not the priority. In the beginning tutors were coming around assessing every group’s concepts and works, and I personally think our group is still in a hole where we could not verbally communicate what our work is about confidently. David and I at the time were working on creating the content for the piece. This motivated me to resolve this issue where I intend to gain more insight into my family’s experiences as boat people, immigrating to Australia in 1980 after the Vietnam War. Where I think we could explore through our proposed environment the best we could:

What made these people leave?

Fathom how extreme the world would have been, to which they were forced to flee.

The intent behind their doings. 

Society now, after the journey. 

These were a few of the concept in which I plan to delve deeper into once already conversed with my family to as what would have been going through their minds as events transpired. This not only would bring substance to the work but also not lead audiences in a not completely abstract space that relies solely on their perspectives; we need a driving force to guide their exploration of our work. We needed effective content and we needed it urgently, so I took it upon myself to develop and create it. Chloe suggested that a projection of some sort could be placed at the start of the paper trail which the group thought was a great idea, the idea of a text being digitally projected before blooming out as paper intrigued me. So for the remainder of the gathering we were motivated to figure out the projection element. Due to updates needed to be done on the projector software, it was advised to come back the following week so that we could effectively work through each module instead of waiting around.

Week 13: Last Workshop & Final Iteration

We were pleased with how last week’s work was received and interacted by audiences, so this week we felt appropriate that we grab this iteration by the horns and build upon it’s potential. We decided to break up into sanctions to cover more work so David and I worked on editing video content for the digital photo-frames that were to be dispersed through the installation, representing past occupation of the environment and a ghostly tone with a choreographed static screens and media press broadcasts of refugee camps.

Meanwhile, Chloe suggested we increase the materiality of the piece with the use of paper, intertwined in a way that would flair from the floor and then drifted across the space and tied to the roof. This would add the element of the narrative of the piece springing to life of a, well, lifeless space. Chloe, Sam and Chelsea used this time to construct the paper structure and also create the room itself; consisting of furniture, draped white sheets and a plain white door in the corner. The paper unit was an visually effective addition in which placed lights would cast a eery shadow upon the walls on the space. We canned the idea of the typewriter which was an element that we all agreed on was one that we as a group held onto because it was effective in past iterations, and as we progressed the component lost it’s place and ultimately detracted from the context.

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We finished the semester workshops in the strongest position we have been since the beginning which is a good sign, though, we have copious amounts of work to get through in order it to be presentable, conceptually and materially. Chloe brought up an interesting element of a window projection on the wall to bring the final to life, she noted that she had a window in her home which would fill the tone of the installation and set forth to photograph it so it can be projected onto the wall. Though our motivations were increasing for the final work we still needed stronger conceptual meaning for the piece. This is where I intend to research the first hand encounters of refugees, immigrants and boat people just like my family in order add more depth to this piece. I think we could display my research through some form of projection or display onto the physical paper sculpture. Placement wise, the space was too congested with all of our items within the exhibit, so we aim to bring further out the actual structure from the walls, so that audiences could experience it in a more immersive manner.