Eithriedig rhag Ystyr : Exemption from Meaning
- Submitting institution
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Aberystwyth University / Prifysgol Aberystwyth
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 29553503
- Type
- Q - Digital or visual media
- Publisher
- Prifysgol Aberystwyth | Aberystwyth University
- Month
- August
- Year
- 2019
- URL
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- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This experimental documentary film work resulted from the author’s inclusion within a wider creative research project, funded by the Daiwa Anglo-Japanese Foundation, which assembled a group of international experimental musicians to create an object-oriented score in response to Japanese works within the Aberystwyth University Ceramic Archive. The resulting film responds to a physical encounter with Yashuo Hayashi’s untitled ‘black sculptural form’ (Catalogue Number: c1320); and documents an improvised musical collaboration between pioneering musicians Toshimaru Nakamura and Rhodri Davies. The film was premiered within the BAFTA Cinema programme of the National Eisteddfod of Wales in Llanrwst in 2019, and subsequently selected for inclusion within a special Japanese program to be presented at the Aberystwyth International Ceramics Festival in July 2021.
The work explores, through the medium of film, the experiential differences between the viewing of documentary film and non-functional ceramics – as they might unfold for the spectator temporally and spatially. The project acknowledges how, in contrast to the experience of film, an engagement with the three-dimensional ceramic object requires an active and progressive viewing from accumulating angles and perspectives across a temporality that is determined primarily by the observer. Within the broad context of intermediality, the resulting film proposes formal approaches to the structuring of documentary material in response to this different form of phenomenological encounter, specifically acknowledging the co-existence of its constituents.
Research questions include:
- How might documentary material be structured and presented in non-conventional durational and sequential terms provoked by experiences of a physical sculptural artefact?
- How might the temporality of one type of art form (documentary film) be influenced and shaped by that of another (non-functional ceramics) to produce an alternative phenomenological experience?
- How might such alternative compositional structures allow new understandings of how the contemporary world is recorded and mediated via audio-visual fragments?
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
