Through this unit I’ve been exploring the cyclical nature of making and interpreting meaning. I hope this exploration considers the role of the author, viewer and the subject in influencing the ways in which we make sense of information. The project is about the labour of ‘seeing’ – it interrogates the purpose of ambiguity and clarity in encouraging imagination and interpretation.
An Exercise on Seeing – Version One
In week one, I combined visual, textual and audio elements from ‘Ways of Seeing’ by John Berger and ‘Sentences on Conceptual Art’ by Sol Lewitt. I became interested in how combining seemingly unrelated material can disorient a viewer. I hoped to explore how the fragmented nature, the confusion and ambiguity intercut with brief moments of clarity can encourage the viewer to carefully look, interpret and draw new connections between different source materials.
Based on this idea, I made version one of ‘An Exercise on Seeing’. Here I combined fragmented (yet – to me – loosely associated) pieces of found footage, a voice-over narration and text-captions that interrogate how we ‘see’.
I hoped to find out how different people would ascribe meaning to seemingly unrelated materials when they are juxtaposed together. What are the connections they make? What are the thoughts, concepts and ideas this exercise can trigger? I also wanted to understand how ambiguity and disjointed-ness could encourage imagination through multiple open interpretations
Interpretation Cards – Does this change how you see?
I then asked people to view and note down their interpretations, thoughts and responses to the moving image piece.
I used the responses to create prompt cards. I imagine a viewer to receive one of these cards prior to viewing the next version of the exercise. How does the interpretation of one person prompt and influence another person’s perception? How do the perceived meanings continue to evolve through this cyclical process of making and interpreting?
An Exercise on Seeing – Version Two
The interpretation cards above subsequently influenced version two of ‘An Exercise on Seeing.’ In this version, a new sequence of found footage is added in a fourth panel. How does this new frame, based on viewer interpretation change the way this moving image piece is understood? Does it give new ways for people to form connections and make meaning?
Additionally, how do the prompt ‘interpretation cards’ influence the way new audiences see the video? How do the prompts encourage you to see in a way someone else has previously seen? Does the layout with 4 panels change the way your eyes move across the screen? Does it increase the intensity of viewing? Does it add clarity? Does it increase ambiguity?
Written Response – List of References:
Readings
- Ahmed, S. (2017) ‘Introduction’ in Living a Feminist Life. Durham: Duke University Press. pp. 1–18.
- Barthes, R. [1967] (1977) ‘Death of the Author’ in Image, Music, Text. London: Fontana Press. pp. 143–148.
- Berger, J. (1972) Ways of Seeing. New York: Penguin Books. pp xx-yy.
- Lewitt, S. (1968) Sentences on Conceptual Art.
- Sontag, S. [1966] (2009) ‘Against Interpretation’ in Against Interpretation Against Interpretation and Other Essays. London: Penguin.
Practices
- HyperNormalisation (2016). Directed by Adam Curtis. [Documentary Film]
- View From The People Wall (1964) Directed by Charles and Ray Eames.
[A Multichannel Film Installation]