Tutorial 5: 04 October 2019. Gareth Polmeer

Research Statement Tutorial

Earlier today, I was able to get feedback from Gareth regarding the RS. We had a very interesting conversation around some of the subject areas touched on in the paper. 

I am happy that the paper has focus and am grateful to Gareth for the suggestions he made in the last tutorial, namely William Latham’s Mutator. The paper works better than the original drafts, in that it avoids many of the former complexities which were hard to resolve within the word count of the paper while still keeping some original elements. 

One of the things I have to add is a line or two to say that some ideas presented are subject to current debate. This goes particularly for the first paragraph in Part 2 which deals with, yes you’ve guessed it, aesthetics. No single area of art causes more debate than aesthetics, or perhaps be more interesting. And that is perhaps why the Research Statement proposes a way of mitigating subjectivity when discussing more than one artistic practice at a time. 

This does not mean I have found a universal and infallible modus operandi. It is more of a gateway to further discussion and debate, perhaps future research. In fact, there are many potential papers nested in the RS. All these side branches or spurs to other areas, can only be hinted at in a four thousand word paper. So this is another thing I should mention in the paper, the potential areas to be investigated. Areas such as the idea of whether AI can make art, final causality and autonomy of action. 

I have one hundred and sixty four words left. This should be enough for any corrections and additions. One thing I was glad of was that I do not need any further citations. They just take up on the word count. This makes life so much easier. There is just one I could add in paragraph 1 of Part 2 where I could explain where the idea is coming from: the part that mentions … not requiring teleological control. This paragraph is debatable which in the context a short paper can be moved through. These are things many books have been written on.

The first paragraph of Part 2 could go in many directions, and I am aware of this. The paper tests ideas and does not sit on its own. Gareth mentioned Paul Crowther who has written on the phenomenological theory of art, Phenomenology of Visual Arts which would be interesting to read in the future. 

I have been concerned with the way the paper transitions from life simulation to looking at art practice as a life process, whether I have been clear enough. Gareth mentioned the Hegelian idea of Geist and in Hegel’s terms art practice is a form of sublation, in which something evolves and changes, and parts are negated to become something else.

Look at Heraclitus in the context of  process philosophy which predates and counters the Aristotelian and Platonic ideas of being, the four causes and the realm of the ideal.   

All the ideas touched on are a rich field to take forward but most importantly they are never far from practice based work. 


Wolfgang Gil: Maleable Sound as Sculpture


Resonant Body I - Wolfgang Gil


Gareth Jones, in his essay, describes the historical changes in the relationship between sculpture and sound. This dichotomous tension is straddled by Gil’s work in Sonic Plasticity proposes the use of sound as a malleable material – one that can be stretched in all dimensions, encompassing height, width, and depth, with curves, edges, and changing geometries. His Aural Fields and Resonant Bodies combine physical structures set to vibrate, creating geometric fields of sound perceivable in space with edges and form.

This is an interesting field I am currently investigating with respect to the final proposal with respect to sculptures. I am not proposing to do the same sort of thing but Gil’s work does have correspondence with how I see sound as creating a physical entity in itself.

My idea is to counterpoise the readability and sensuality of the solid pieces with the pure perception and sensuality in another modality of sound. I am concerned about the cancelling out of one another: should solid sculpture reside in silence, should sound be disembodied? These are questions I intend to explore and aim to resolve in some way. The use of digital interactive devices is something I have been working with enabling an element of audience interaction. But then again, the work in silence also speaks of itself. This is an interesting area of empirical research which needs a trial and error, or heuristic, approach.