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dc.contributor.authorFahy, Su
dc.date.accessioned2018-06-29T15:09:40Z
dc.date.available2018-06-29T15:09:40Z
dc.date.issued2016-06-29
dc.identifier.citationFahy, S. (2017) Auckland University of Technology. Studies in Material Thinking, 17, Paper 05.
dc.identifier.issn1177-6234
dc.identifier.urihttp://hdl.handle.net/2436/621397
dc.description.abstractHow does a whole society or nation remember or forget the age of analogue film photography and its methods of documenting memory and identity? Inspired by procedures such as the sixteenth-century artificial memory systems presented in the writings of Frances Yates, I examine in my research the workings and subversions of memory through appropriation and reworking of fragments from the analogue photographic archive. The material photographic print reminds us of fugitive memories of family, events, wars, propaganda, the role of witness and visual testimony. I construct new artificial memories from the gleanings of the flea market, second hand shops, the attic, the shoebox, and archival researches. The objects I encounter offer a haptic visual prompt for new works that pose questions of memory and artificial memory, and identity within the visual ecology of a fast-eroding analogue tradition. I present case studies that demonstrate the intimate scale and fragility of such photographic scraps, showing my re-working of found objects to create small visual series accompanied by narrative encounters with each of the photographs. In the process, I also indicate the unique contribution of studio culture in this complex tentative multisensory interrogation.
dc.language.isoen
dc.publisherAuckland University of Technology
dc.relation.urlhttp://www.materialthinking.org/papers/250
dc.subjectmaterial photographic print
dc.subjectmemory
dc.subjectappropriation
dc.subjecthaptic
dc.subjectencounter
dc.subjectvisual ecology
dc.subjectmultisensory archive
dc.subjectaffect
dc.subjectfound photography
dc.titleFugitive Testimonies: an artist archive
dc.typeJournal article
dc.identifier.journalStudies in Material Thinking
dc.date.accepted2016-02-10
rioxxterms.funderUniversity of Wolverhampton
rioxxterms.identifier.project0
rioxxterms.versionAM
rioxxterms.licenseref.urihttps://creativecommons.org/licenses/by-nc-nd/4.0/
rioxxterms.licenseref.startdate2020-11-11
dc.source.volume17
dc.source.issue5
dc.source.beginpage1
dc.source.endpage18
refterms.dateFCD2018-10-19T08:32:40Z
refterms.versionFCDAM
refterms.dateFOA2018-08-01T10:35:30Z
html.description.abstractHow does a whole society or nation remember or forget the age of analogue film photography and its methods of documenting memory and identity? Inspired by procedures such as the sixteenth-century artificial memory systems presented in the writings of Frances Yates, I examine in my research the workings and subversions of memory through appropriation and reworking of fragments from the analogue photographic archive. The material photographic print reminds us of fugitive memories of family, events, wars, propaganda, the role of witness and visual testimony. I construct new artificial memories from the gleanings of the flea market, second hand shops, the attic, the shoebox, and archival researches. The objects I encounter offer a haptic visual prompt for new works that pose questions of memory and artificial memory, and identity within the visual ecology of a fast-eroding analogue tradition. I present case studies that demonstrate the intimate scale and fragility of such photographic scraps, showing my re-working of found objects to create small visual series accompanied by narrative encounters with each of the photographs. In the process, I also indicate the unique contribution of studio culture in this complex tentative multisensory interrogation.


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