Multicomponent Title: The Return
Multicomponent output with contextual information – Digital / visual media
- Submitting institution
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Edinburgh Napier University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- CA_multi
- Type
- Q - Digital or visual media
- Publisher
- n/a
- Month
- November
- Year
- 2016
- URL
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https://portfolios.napier.ac.uk/view/view.php?t=t9LbJEFKghsiMc1D2S74
- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
-
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The Return is a video sculpture integrating moving image, audio, custom-electronics and found objects. It has been selected for exhibition in UK, Italy, Germany, China, Japan, and USA, and was shortlisted for an AHRC Film Innovation Award (2016). The Return gives visual form to the author’s conceptualisation of the representation of non-linear time. From this central trope come associated explorations of repetition, difference, memory, home, loss and return. These are informed by consideration of the writings of Borges, Bergson, Nietzsche, Deleuze and Bachelard. Also important is Reich’s use of repetition and phase in composition and the films and writing of Tarkovsky through which he explores film as a process of sculpting in time. The work considers visual influence in the presentation of works by Thater, Aitken and the early works of Santos and in the conceptual explorations of time and memory in the works of Claerbout and Huyghe. More explicitly, The Return, visually and conceptually references the penultimate scene of Tarkovsky’s, The Sacrifice, in which a burning house had to be re-shot following a camera failure. The burning house in the video element of The Return is a re-working of that already repeated act. Each of the elements within The Return is a carefully considered evocation of cycles of time, repetition and difference. The process of creating The Return was cross-disciplinary and collaborative, integrating elements of art, film, architecture and computer science. This hybrid approach, allied with the integration of visual effects techniques normally used in high-end cinematic production, was cultivated to push the boundaries of creativity and technical possibility. The resulting artwork is a unique synthesis of concept, process, form and code which posits a particular understanding of our experience of past and present and reflects upon this in relation to our notions of home, loss and return.
- Author contribution statement
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- Non-English
- No
- English abstract
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