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| research_report_parenzana [2013-10-14 15:09] – [Context] sarah.neville | research_report_parenzana [2013-10-14 16:29] – [Methods] sarah.neville | ||
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| - | * This project is based on ancient world fables that spring from anxiety about the future. I am investigating the time old tradition of looking back to look forward. Hence, mining mythology to decree the future of a conflicted world anchored in the anxieties of our times. | + | This project is based on ancient world fables that spring from anxiety about the future. I am investigating the time old tradition of looking back to look forward. Hence, mining mythology to decree the future of a conflicted world anchored in the anxieties of our times. |
| Nowadays with climate change on the political agenda and summers becoming hotter, there is a real fear emerging about the future of the globe. Hail in Melbourne CBD in March might once have been interpreted as the wrath of an angry God. Delayed flights in Europe due to the explosion of the Icelandic volcano are named by insurance companies as, “An act of God.’ The question is how does the superstitious imagination make sense of all this? Why is the volcano angry and why are the summers too long? | Nowadays with climate change on the political agenda and summers becoming hotter, there is a real fear emerging about the future of the globe. Hail in Melbourne CBD in March might once have been interpreted as the wrath of an angry God. Delayed flights in Europe due to the explosion of the Icelandic volcano are named by insurance companies as, “An act of God.’ The question is how does the superstitious imagination make sense of all this? Why is the volcano angry and why are the summers too long? | ||
| I am extremely interested in the sublevel panic that pulses through current media hinting at a dire future of floods, famine and fires. It triggers reasoning inspired by practical knowledge about the impact of greenhouse gasses and the evolution of natural disaster along side creative narratives born of moral blame. By referencing past myths through a highly contemporary lens, we can assure ourselves of our ongoing capacity to deal with and understand natural and social disaster through our imaginations and creativity. | I am extremely interested in the sublevel panic that pulses through current media hinting at a dire future of floods, famine and fires. It triggers reasoning inspired by practical knowledge about the impact of greenhouse gasses and the evolution of natural disaster along side creative narratives born of moral blame. By referencing past myths through a highly contemporary lens, we can assure ourselves of our ongoing capacity to deal with and understand natural and social disaster through our imaginations and creativity. | ||
| - | * When we arrived in Istria I expected | + | *The aim of the residency was to consolidate the concept, locate methodologies of practice and to search for an aesthetics to guide the work |
| + | *The aim of the project is to work with a concept and series of methodologies that can be extended in multi-platform processes and outcomes. Potential outcomes might include; live performance, | ||
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| * //concise description of the way the research will be (has been) developed from establishing the problem definition to the final results// | * //concise description of the way the research will be (has been) developed from establishing the problem definition to the final results// | ||
| - | * // | + | The site for this residency was in a house amongst vineyards in an old part of Istria. Florence and I were among friends and we are all highly motivated individuals. Therefore we began an informal discussion that developed over a week which became more focused over time and simulateously continued to expand our scope of reasearch as we shared our knowledge and experience and chased down leads. |
| Whilst in Croatia, the foam residency was structured to include my whole family so my husband Matt contributed a sound score and our daughter Miranda sent drawings and stories in response to the creative content generated. Foam founders and collaborators Nik Gaffney and Maja Kumonovic, not only contributed creative ideas but picked up the ‘hard to do with a baby in your arms’ tasks like note taking and documenting. | Whilst in Croatia, the foam residency was structured to include my whole family so my husband Matt contributed a sound score and our daughter Miranda sent drawings and stories in response to the creative content generated. Foam founders and collaborators Nik Gaffney and Maja Kumonovic, not only contributed creative ideas but picked up the ‘hard to do with a baby in your arms’ tasks like note taking and documenting. | ||
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| ==== Solution/ | ==== Solution/ | ||
maja