Newest Videos

A while ago I was thinking about relating my collection of digital information specifically to the human body, and considering the blurred line between the physical interface of our body and the digital interface of the web – the space/output that makes an attempt to synthesise the ‘real’ through a mimicking of humans/physical textures etc. However, after a period of consideration, I realised that this idea may be quite confused, and though it is an interesting area that could definitely be developed further, I don’t feel that at this point I should leave behind the work I’ve already developed in relation to the idea of the ‘big questions’, which I believe has been considered a lot more thoroughly.

Instead, I have returned to the sort of questions that I was considering initially, exploring how these questions are answered when engaged with digitally. By this, I mean our changed relationship with the sort of ‘big questions’ (in my work I have decided to focus on 3, What is life? What is love? and What is happiness?) that have perhaps been historically given absolute answers,  but within a digital context – or in the age of mechanical reproduction (to reference W.Benjamin) how such absolute answers are resisted within a situation with no fixed point of context. The internet specifically, offers no fixed point of reference, all pieces of information exist in parallel with one another, and an absolute narrative is resisted by the thousands of results that can be accessed just under one search entry. In some sense there is a hierarchy of information, determined by google’s algorithms, but the hyperlinked nature of the web means that once one link is engaged with, a whole range of possibilities and directions open up to the user.

The interface idea will still feed into the final outcome, and I will continue to work with the idea of the virtual personalisation of fragmented information through my presence as digital assistant, and I would still like to engage on some level in this idea of the physical and digital merged boundary, so may include the ‘Human Touch’ video that I have already worked on.

These are the three videos that I am looking to incorporate in my final outcome.

(The ‘content’ and ‘narration’ videos will be played simultaneously, but they have been uploaded as separate files)

What is Life?



What is Love?



What is Happiness?



Net Artists – Interactive Websites

As I begin to build my website, I am considering other net artists that make use of interactive, online spaces. Reading ‘Internet Art’ by Rachel Greene, which outlines artist’s engagement with the internet, I am particularly interested in how they present and engage users with their work, how they curate content and prompt interactivity.

Interacting with this site is quite uneasy, you feel as though you’ve entered into the background workings of your computer – and although some functions appear somewhat familiar, you have to frustratingly navigate through frantic clicking around the page in order to move to the next page. However, the more that you navigate through the work, the more lost you feel inside this strange space – it is sort of like the back of a tapestry perhaps, you recognise familiar shapes in part but feel unable to grasp where you are in the whole. I think this re-shaping of a familiar interface is interesting, and the work drastically changes the role of the user, making them quite redundant amongst the frantic flashing of functions that are difficult to make sense of. Relating this to my practice, I am interesting in this disruption of the familiar interface, and the redundancy of the user – I intend to explore how I can challenge our interactions with the internet by engaging in this sort of disruption.

Zombie and Mummy – Olia Lialina and Dragan Espenschied

The work opens with a list of animated word art, each acting as a hyperlink to another page of the site. Throughout the site, a new story involving the returning characters ‘Zombie and Mummy’ is presented within each page – set in front of a different background relating somewhat to the hyperlinked text. The work to me highlights a certain banality of information on the web, and I’m especially interested in the sort of relationship this work creates between the viewer and the presented information. The consistency of Zombie and Mummy as characters offer a certain safety whilst you move through the site, each encounter develops a sense of a master narrative that is contrasted by the fragments of found objects/images that are presented alongside the stories.

My Boyfriend Came Back From The War (MBCBFTW) – Olia Lialina

As the user engages with the various hyperlinked elements on the site, a loose narrative of a young couple reunited after being separated by war begins to develop. The work highlights the capacity of the web interfaces to play a part in a more sensitive and subtle narrative, dealing with issues of love, longing, relationships, and also unveils the user as an operator of such a narrative, and can only move forward through the intervention of the user. In relation to my own practice, I am interested in how the piece takes ownership of a digital space, engages the user, and utilises the technology of hyperlinks in order to develop a new way of communicating timeless narratives. The relationship between a human narrative and the digital, here are complementary and open up a dialogue that explores the human experience with a new language.

Exploring the work of these interactive net artists, I have been able to identify the possibility of narrative within the context of internet art. The narrative that unfolds does not make use of our familiar relationship with language, but highlights the new potential that digital art has in communicating elements of both the human and digital experience, which increasingly frustrates a clear distinction or boundary.

Joseph Kosuth

I feel like I’ve come across Conceptual artist Kosuth’s work far too late into this project, but looking into it now, it is helping me in many ways to realise some of the important concepts in my own work.

Kosuth’s work takes the study of linguistics as its central concern, and in particularly the process of signification. This is something I was interested in exploring last year, but this year I have decided to move away from these concepts as I felt my understanding of them was too limited to be able to explore this fully. What I am taking forward, and where I see the ideas of Kosuth playing out in my own practice is this idea of how one concept or word can manifest itself in many ways. In particular, through search technologies hundreds of thousands of different results are generated and collect around one search entry.

The way that one signifier is defined within such a network is no longer set at a fixed point but becomes lost within a web of definitions. This is a fairly superficial consideration around ideas that would require a lot more research, but currently I have found it helpful to just consider some of the crossovers between my work and Kosuth’s.

Cut Ups

The use of the cut up technique originated in during Dadaism and questioned the role of the author by removing their voice from the production of a piece of work. The growing interest in chance and an alternative approach to the generation of art follow an art that was entering into a time of ‘post production’ whereby the originality and authorship of the artist was beginning to be made redundant.

William Burroughs

This year’s body of work has meant that I am returning to the work of William Burroughs, who I looked at last year, and his use of the ‘cut up’ technique. This Dadaist technique was popularised by Burroughs after the 1950’s and involves intervening with a piece of text and cutting it up and then reassembling. Though known predominately as a writer, Burroughs scripted a number of Dada films using this technique. The use of film in this process also highlights the influence that ‘mechanical reproduction’ has had on the way that we address artistic practice. At this point, Benjamin’s ‘Art in the age of mechanical reproduction’ essay may be referred to, in particular, this address of the loss of originality following mechanical processes that remove the image from the original source and allow it to move into new contexts.

Through the use of this technique, material is able to find itself juxtaposed alongside that which it would not creatively or logically find itself near. This creates an ambiguity that allows for an open interpretation. It also removes context and therefore changes the way we relate to the information.

Hans Richter

Richter is another Dada artist whose work disrupted the rythmic flow of film making by engaging film with a process relating more closely to collage. I am interested in this disrupted narrative in his video pieces, and in particular this cut up/collaging approach to film making.


I am beginning to recognise just how much of my work is rooted in the approach to making adopted by the Dada artists. The art of Dada very much takes chance and randomness as the means of expression, creating texts through the use of instructions and chance encounters with words. In her overview of internet art, Rachel Greene comments that net-art is very much rooted in Dada, and identifies that such instructions are passed into net-art in the form of code and algorithms.

I recognise this in my approach to the automated poetry, and also the ‘google scripts’ in which I have used a set of instructions in order to create text pieces. The element of randomness is replaced by algorithms that dictate the search results that appear. The poem generator tool that I have used to create the automated poems, use a readymade tool but also allow me to further engage in this process of text generation through a series of instructions and prompts. Similarly, the development of my video pieces follow a similar set of instructions.

Contemporary Cut Ups


Cassetteboy’s video’s are popularised by social media, and although his videos are intended as parody, are quite contrived and do involve some level of directed narrative, I’ve included his videos in this post to highlight how the use of the cut-up technique is continuously engaged within a contemporary context.


Negativland is an experimental music group who engage with the cut up technique. Again, perhaps not one of my strongest point of contextualization, but their work is a clear example of how the cut up technique can be used to disrupt and subvert an intended narrative – emphasising the vulnerability of content within an age of mechanical reproduction, especially a contemporary digital age.

Developing a Website

So far, I have explored how to present the videos/text pieces using Microsoft Powerpoint. This has been helpful in allowing me to explore ideas surrounding an interactive interface, however, there is a limit to the amount I can really do with this software, it works in a very linear way and is difficult to share across platforms. The next step for the development of an interface in which to exhibit the work has been to create a website. I have very limited experience with coding but in order to have the freedom to create an interface from scratch, I made the decision to learn a basic level of html coding – and I have also been collaborating with someone more experienced in order to develop the more complex part of html coding.

I have been using the programme ‘brackets’ in order to begin to understand html coding, and I have felt that I have picked it up quite quickly. Obviously, anything that I create will reflect my basic level of skill in this area, but I feel confident that I will be able to create a space in order to incorporate my videos and relate them back into the sort environment they were drawn from. One of the main reasons that I have for doing this is in order to exhibit the work digitally, I want there to be a sort of ‘digital ownership’ where the user is invited into a digital space rather than bringing the digital out into the physical space by means of projection.

Some initial screenshots of my progress in html, these aren’t by any means the end product, but just my experimentation as I learn to code.


A ‘Naive’ Aesthetic

With many of my projects, I often work in quite a familiar way, and I have often notice that in my mind I draw a line between the things that ‘should’ inform my work (i.e. theory, philosophy, contemporary artists, art history), and things that ‘shouldn’t’.  I have come to the understanding that this is quite an unhelpful way to work, and in many ways actually goes against some of the dominant ideas in contemporary art, and its blurring boundaries between art and the everyday.

This does not mean I’m abandoning the things that in the past I recognised as sources that ‘should’ inform my practice, however, this year I have been really trying to break outside of this and turn to an aesthetic or set of ideas that are familiarly presented to us in our everyday use of the internet. The starting point for this project was Siri, and her flippant answers to the question ‘what is the meaning of life’, since then much of what has informed both the formal and conceptual elements of my practice has been the material that I have often come across on the internet, which in my mind I describe as a sort of ‘naiive’ aesthetic. I guess what I mean by this, is the sort of aesthetic that is quite common on youtube or facebook, badly rendered, poor quality images that accompany a ‘deep’ musing, or presented as an alternative music video for a ‘poignant’ song. Such things have quite an obvious sense of plagiarism, and just generally lack much self-awareness in their production.

I am interested in the way these sorts of images and videos, superficially throw about ‘meaningful’ sound bytes and ideas. Much of my video work is presented in a similar way, comparable to the sort of ‘lyrics’ videos that take a song and provide an alternative video made of quite obviously plagiarised material.


I am enjoying working with this sort of aesthetic, and it has helped me to move out of a rigid approach to the formal qualities of a piece of work and draw from a wider range of sources.

I have also found myself drawn to the ‘retro’ website designs from the 90s, and particularly the underdeveloped look that seemed to have developed from an excited use of web tools, gifs, images, and video, and a very undeveloped sense of professional web design. Again, it is this sort of naive aesthetic that has really informed the way that I am approaching the formal elements of my video work and website design.

I have also come across a site named ‘the world’s worst website’, a website that looks at all the things NOT to do when designing a website. Its quite amusing, and demonstrates the progression of web design away from the poor quality 90s vibe.


The Archive

I have been reading through one of the books in the Whitechapel documents of contemporary art, ‘The Archive’. Two essays, in particular, were helpful to read in relation to the sort of ideas around my use found footage and archived materials.

Hal Foster: The Archival Impulse

The essay considers the growing use of archives in contemporary art, locating this within a history of art seeking to elaborate and extend the archived ‘readymade’ in renewed contexts.

The essay has helped me to reflect upon perhaps the reasons why the archive is turned to when creating art. The archive allows for new connections to be made between narratives and information that would not naturally find themselves in the same context. ‘Connecting what cannot be connected’ in a process that Foster considers comparative to paranoia, a process of forced connections that demonstrate an attempt to work through a contemporary condition of fragmentation in order forge new narratives.

Considering the way that I use the archive, the ‘mega archive’ of the internet, almost as a way of highlighting the fragmentation that occurs within a digital society. Much of my work is a ‘plain’ presentation of the found materials I have gathered through a process and pattern of collection and presentation. This is quite different to the way a lot of contemporary artists use the archive, using it as a source for material that is then drawn together as part of a much more creative exploration into a narrative, this is encouraging me to really consider the way in which I present found footage.

Neil Cummings and Marysia Lewandowska, From Enthusiasm to Creative Commons: Interview wth Anthony Spira

In this interview, the artist duo discuss issues surrounding the use of third party material in art. Something that is very much at the centre of my own thoughts surrounding my practice. Highlighting the multiplicity of authors and previous owners within an archive, Cummings and Lewandowska identify a key difference between ‘the archive’ and ‘the collection’. Notably, a collection follows a certain narrative, however, an archive is described in this interview as a ‘territory’ not a specific narrative. Cummings and Lewandowska comment “therefore the meanings of the things contained (in an archive) are up for grabs, it’s discursive terrain. There’s a creative potential for things to be brought up to the level of speech, as they are not already authored as someone’s narrative or property.” 

A statement found on their website reads “we recognize that it’s no longer helpful to pretend that artist’s originate the products they make, or more importantly, have control over the values and meanings attributed to their practice: interpretation has superseded intention.

Their approach to work highlights the honesty perhaps of using found materials, they are not making an attempt to absorb found materials and regurgitate them as original, but instead present the found footage as itself, but within a newly constructed narrative – a narrative that can not be denied by the openness of the nature of the archive. The contemporary artist is likened by Cummings and Lewandowska to that of a DJ, a curator or hacker. No attempt at creating a new object is made, but rather old objects are recaptured and released into new potential. They acknowledge that the use of found materials can be difficult to balance, as it can easily fall back into the realms of ‘the everyday’ from which the footage originates, but through careful curation and intervention, there is a potential to draw out a new life from the explicit appropriation of the archive.