Tutor feedback was in the form of a telephone conversation which at this stage of the proceedings was very useful.
The key points which I picked out from the call were:
- Be coherent with the output
- As the output for this assignment is in the form of a facebook and instagram dialogue, provide a link to the facebook (and possibly the Instagram account) for the assessors to see the extent of the work.
- The facebook dialogue is engaging and there is a creative element to the photos. Every photo is a piece of fiction. Evidencing of fictional work by Shovlin and Fontcuberta is worthwhile.
- The project shows passion and personal engagement.
The written account was very positive. I am starting to push my practice and show an understanding of contemporary practice.
For the next stage (assignment 5) I need to produce more of the same, continuing to be experimental and although my referencing across to academic studies such as the book “Digital Identities” by Rob Cover is relevant and significant, there is no need to go into a deep academic analysis of my work at this level.
An important discussion was had on the output required for this assignment and it was agreed that because the whole project is in the form of social media the correct output would be the content of the facebook dialogue.
I was pleased to note that some of my anecdotal comments lightened the experience of the reader and added some of my personality into the text. “Try not to be too dry as an academic”
My tutor referred me to another fictitious project “The Afronauts” by Christina De Middel which, as it happens, I had the fortune to see at the Photographer’s Gallery when she was put forward for the Deutsche Borse Prize. I remember the affect that this exhibition had on me at the time. There is an element of surprise when the viewer finally realises that this is fiction, not reality. I have tried to create some of this element of surprise throughout this project and one of my key points for the next stage is to change my posting to give a more disturbing effect, perhaps by making stronger political statements.
When tackling a project like this it is important to maintain the context and to work towards containing the project within a fixed time period. The possibilities are endless. There is a whole world out there and it is not possible to deal with it all. So my response to the work so far is one of satisfaction but also frustration. I would like Sidney to have a hundred friends by now but I also want to limit contact to those who are relevant and that I have done.
I have communicated with some very good photographers and have grown my own work with the knowledge which they have given me.
Other work leading up to this assignment has given a vast scope of ideas for how to develop assignment 4. I hit on the idea of creating a digital identity from scratch very early in this period and fortunately started up the new facebook and instagram accounts early on because it has taken some time to get them established.
A lot of the work in this section is related to false identities and false information:
- Avatars and alter egos
But there is also consideration given to “exploring the boundaries of contemporary photography”.
- Miska Henner’s project – No Man’s Land
- Barbara Kruger’s project – Untitled (We will never be seen and not heard)
My desire is that the work I have completed for assignments 4 and 5 will contribute towards this contemporary exploration.