Episode: Experiencing the Pleasures and Persuasions of Lens Based Media.

剧集：体验基于镜头的媒体的乐趣和说服力。

• 批准号: AH/D000831/1
• 负责人: Jaspar Joseph-Lester
• 金额: $ 1.04万
• 依托单位: Sheffield Hallam University
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2006
• 资助国家: 英国
• 起止时间: 2006 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FD000831%2F1
• 关键词: Episode; Experiencing; Pleasures; Persuasions; Lens

Episode is a research initiative set up to generate critical reflection around lens-based artworks and the role they play in establishing and interrogating our experiences of belief in western contemporary culture at large. Our project explores these issues in a long-term cross-institutional collaboration. To initiate our research in the public arena, we will produce a group exhibition of new lens-based artwork by nine artists and a public symposium at Leeds Metropolitan Gallery, Apr-Jun 2006.The term 'Episode' refers to a displaced moment - a slice of narrative - an event, isolated and de-contextualized from a coherent narrative sequence and as such makes us aware that the image is a construct. Despite this, these images have the power to keep us immersed and enthralled. We explore how the power of experiencing these autonomous fragments produces belief.This research examines how lens-based images in western contemporary culture produce intellectual and ideological values that claim neutral and objective positions and yet are subjective and interested. We scrutinize the contradiction and problem that images that establish facts are also spectacular, rhetorical and non-neutral. The selected artworks discuss this as they show an implicit understanding that lens based media is reproducible, pluralistic and has a close proximity to entertainment, whilst at the same time demonstrating an awareness that photographic and video media are often taken for and accepted as 'truth'. The artworks that include video, photography and lens assisted painting address these issues by working through the following subject matter: how we re-construct our memories through photography; the relationship between power and banality in images of urban life; the proximity between nature and culture in Las Vegas simulacra and the contamination of the languages of heroism and realism in TV documentaries.The exhibition design is key to this investigation of experiential affect and power. Floating walls will direct and disorientate the viewer, choreographing the artworks in the space and the audience through it. The design offers the pleasures of a heightened sense-perception whilst at the same time organizes the space in an authoritarian manner, exaggerating and extending the issues proposed in the artworks.Through the propositional arena of exhibition making and public discussion, this research generates a vital inquiry into how images achieve and are given the status of fact in contemporary culture. What is it that moves us about these images? Is it the experience of the universal as a construct; the force of authorship? Or, do the images that we see convince us of a larger truth that seems to go beyond this? Our project debates how images can keep us enthralled, immersed and moved, how they hold and produce belief, and how claims to fact have affect in a contemporary culture of skepticism. These activities will promote wider discussion of our theme and act as a foundation for long-term future international research and collaboration with universities, galleries and the public across the fields of fine art and cultural theory.These ideas have been explored through notions of the 'spectacle' (Debord), the 'hyperreal' (Baudrillard), the virtual (Virilio) and the 'neutral' (Barthes). Taking these areas of research as a foundation, our project develops literalist and antirepresentationalist theories (Dewey, Rorty, and Fish) to explore the implicit relationship between the constructed and the lived.The project will exhibit artworks that test whether 'episodes' aren't simply set apart from our lives as 'fiction' or 'fantasy', but rather how they entangle themselves in our everyday experiences becoming believable, but unlived narratives. This project takes up the paradoxical nature of invented narrative space and examines its implicit relationship to our everyday lives.

“插曲”是一项研究倡议，旨在对基于镜头的艺术作品及其在建立和质疑我们对西方当代文化的信仰经验方面所起的作用进行批判性反思。我们的项目通过长期的跨机构合作来探讨这些问题。为了开始我们在公共领域的研究，我们将于2006年4月至6月在利兹大都会画廊举办9位艺术家的新镜头艺术作品展和公共研讨会。“插曲”一词指的是一个移位的时刻——叙事的一部分——一个事件，从连贯的叙事序列中孤立出来，脱离语境，因此让我们意识到图像是一个结构。尽管如此，这些图像还是有力量让我们沉浸其中，着迷。我们探索体验这些自主碎片的力量是如何产生信念的。本研究考察了西方当代文化中基于镜头的图像如何产生知识和意识形态价值，这些价值主张中立和客观的立场，但又主观和感兴趣。我们审视的矛盾和问题是，建立事实的图像也是壮观的、修辞的和非中立的。所选的艺术作品讨论了这一点，因为它们表明了一种隐含的理解，即基于镜头的媒体是可复制的，多元化的，与娱乐密切相关，同时也表明了一种意识，即摄影和视频媒体经常被视为并被接受为“真相”。这些艺术作品包括录像、摄影和镜头辅助绘画，通过以下主题来解决这些问题：我们如何通过摄影重建我们的记忆；城市生活影像中权力与平庸的关系拉斯维加斯拟像中自然与文化的接近以及电视纪录片中英雄主义和现实主义语言的污染。展览设计是研究体验情感与力量的关键。漂浮的墙壁将引导和迷惑观众，编排空间中的艺术品和观众。该设计提供了一种高度感官感知的乐趣，同时以一种专制的方式组织空间，夸大和扩展了艺术品中提出的问题。通过展览制作和公众讨论的命题舞台，本研究对图像如何在当代文化中获得并被赋予事实地位进行了重要的探讨。这些图像到底是什么打动了我们？它是作为构念的普遍的经验吗？作者的力量？或者，我们看到的图像是否使我们相信一个更大的真理，似乎超越了这一点？我们的项目讨论了图像如何让我们着迷、沉浸和感动，它们如何保持和产生信仰，以及在当代怀疑主义文化中，对事实的主张如何产生影响。这些活动将促进对我们主题的更广泛讨论，并为未来在美术和文化理论领域与大学、画廊和公众进行长期的国际研究和合作奠定基础。这些想法已经通过“奇观”（德波）、“超真实”（鲍德里亚）、虚拟（维利里奥）和“中性”（巴特）的概念进行了探索。以这些研究领域为基础，我们的项目发展了字面主义和反表征主义理论（杜威、罗蒂和费什），以探索被建构物和生活物之间的隐含关系。该项目将展出一些艺术品，以测试“情节”是否不是简单地以“虚构”或“幻想”的形式从我们的生活中分离出来，而是它们如何与我们的日常经历纠缠在一起，成为可信的，但并非真实的叙述。该项目探讨了虚构叙事空间的矛盾本质，并探讨了其与我们日常生活的隐含关系。