An Enquiry into the Relationship Between Community and Pre-cinema Optical Devices
- Submitting institution
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Nottingham Trent University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 6 - 966498
- Type
- T - Other
- DOI
-
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- Location
- -
- Brief description of type
- N/A
- Open access status
- Out of scope for open access requirements
- Month
- June
- Year
- 2014
- 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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A - Artistic Research Centre
- Proposed double-weighted
- Yes
- Double-weighted statement
- Judd developed this multi-component non-standard output developed four site-specific commissioned performances and exhibitions between 2014 and 2018, in which he explored the relationship between display technology and temporary community. The output includes curatorial practice that brought together the work of other artists, in which Judd managed their contribution to the individual projects. The multi-element structure of the output reflects the complexity and variety of the perspectives the research developed on the topic.
- Reserve for an output with double weighting
- No
- Additional information
- This practice-based enquiry, comprising performance, installation and moving image, examines how community can be formed and developed through performance using pre-cinema devices (such as the magic lantern), focusing on analogue media’s characteristic ability to invite participating and instil both a sense of connection and belonging. In contrast to pre-recorded cinema and incomprehensible digital technology, performance using magic lantern technology involves the analogue manipulation of material as a live act experience by the audience, encouraging a sense of participation within an unrepeatable, site-specific event.
Judd’s work contributes to wider debates about temporary communities and site specificity (Kwon, 2004); the individuals in relation to the group (Nancy, 2000); theatrical practices as a facilitator of communal bonding (Morrison, 2002). The practice-based critical context for Judd’s enquiry was established through Judd’s curation of Stories in the Dark (2016) which brought together the work of different artists (e.g. Guy Sherwin, Lindsey Seers) using magic lanterns or their direct descendants (16 mm film, 35 mm slide), enabling Judd to clarify the distinctiveness of his enquiry in relation to using technology specifically for the formation of temporary communities.
Judd’s exploration of the forms of collectively and participation activated within performances using magic lanterns has evolved through a series of commissioned exhibitions and performances each funded through Arts Council England, enabling different forms of temporary communities to be explored in relation to different sites and contexts. These include the high-profile commissions Vast as the Dark of Night (2014), Whitstable Biennale; Apart, We are Together (2015), ICA, London, curated by Fatos̹ Üstek (fig-2 and Director, David Roberts Art Foundation); The Part Versus the Whole (2018), Victoria Gallery & Museum, Liverpool, curated by Rose Lejune (formerly Serpentine Gallery), and Nothing Human is Strange to Me (2018), De Montfort University.
- Author contribution statement
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- Non-English
- No
- English abstract
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