Progress Summary 1

Progress Summary 1

 From 3.1….

 When I approached unit 3.1 (Practice And Research), after having absorbed the impact of changing my study method, moving from a "guided" system to a "self-managed" one, I concentrated on choosing the topic to develop.

I chose psychogeography.

I chose this because, even if the theme is very broad, my practice emerges from it. Some of the photographers who are connected to this theme represent the essence of what photographer I intend to be in the future: a photographer who implements the drift technique/theory and a street photographer.

Is there a relationship between drift and street photography?

The relationship between psychogeographic drift and street photography is based on spontaneity, openness to the unexpected and the ability to capture authentic and significant moments and details on city streets. These characteristics have to do with the reaction of myself, as a photographer, to the environment and to the urban space.

That is definitely what I intend to be.

During the work in unit 3.1, I was informed that I would develop the theme further during unit 3.2. Therefore, I decided not to consider the work of unit 3.1 as a finished body of work but as a path to be continued in the following unit.

 

 …. to 3.2

Indeed, Unit 3.2 (Context And Audience) is also articulated in mutual support between research and practice. In particular, the practice is characterized by so-called "external projects" that push me to get in touch, in various forms, with the surrounding world.

Furthermore, for my research, I am asked to "narrow things down", consolidate, select and focus on the general theme of psychogeography while remaining consistent with the initial choices and confirming my evolutionary path towards photographic style and content.

For this reason, I made some choices which I submitted to my Tutor to verify their consistency and thought of structuring all the ideas, planning, resources and projects in a mind map, in order to bring order and not lose focus on the objective, the learning outcomes and the final content.

  

Research and Study

I decided to focus on the theme of drift and its main declinations, whether linked to situationism, psychogeography, or simply the relationship of the individual with the urban environment or street photography.

I would therefore like to select, study and analyze some authors who have used (even not consciously) the drift as the main feature of their visual work.

For this reason, I am collecting information, sources of consultation and documentation that will serve as a reference for my theses and conclusions.

I was happy with the feedback from my Tutor, who agreed with this approach and gave me valuable suggestions on some artists to explore further.

 

 Critical Review

 For the critical review, I thought about some topics, among which:

Theme 1: The relationship between the individual and the urban environment in photography declined in the technique of psychogeographic drift and/or street photography, questioning the relationship between photography from psychogeographic drift and street photography.

 

Theme 2: photography from psychogeographic drift: conscious and unconscious application in some case studies, including walking, wandering, strolling and street photography.

 

In the critical review, I intend to question the thesis that there is a clear separation in photography between the practice of psychogeographic drift and street photography.

I shared with my Tutor the inclination to choose theme 1. It naturally leads to critical reflection on a specific statement: this approach is the backbone of a Critical Review.

 

External Projects

I'm currently developing three ideas, which are at different stages of progress and feasibility testing:

Project 1: Interview with one of the founders of the Venice “Museo del Camminare” (trad. “Museum of Walking”). The Museum, in the intentions of the founders, aims to disseminate the practice of walking as an artistic and socio-political act, drawing inspiration from Situationism. Guy Debord, Ralph Rumney and Sophie Calle. I contacted Gianpaolo Chiari and planned to interview him in September 2023.

At the time of this writing, I completed part of this project: I carried out the interview and submitted the draft to my Tutor. I will submit the content to my peers during Feedback Point 3.

 

Project 2: Virtual photographic exhibition of some of the images produced in unit 3.1, with soundtrack. The exhibition should have the title “Resonances”.

The "do it yourself" software products I analyzed are inadequate regarding graphics, sound and functional performance. Little resolution, slowness, and poor results from the point of view of simulating a professional photographic exhibition.

 I introduced this theme during the periodic meeting with my fellow students, and they, too, agreed on this qualitative and  technical judgment.

I then contacted a (London-based) specialized company, which, on my blue-print,  proposed the final outcome and price. The total for a one-year virtual exhibition, with around 25 images and a location setting based on the rendering of my other images, is around 2,300 pounds. This price, compared to that of a regular paid exhibition, is about 5 times higher, but this is not surprising.

In any case, I agreed with my Tutor that this initiative could be brought to Unit 3.3 or that I could think of a canonical exhibition.

 

Project 3: Traveling "recursive" exhibition. Physically exhibit the prints of a selection of images from 3.1.

The aim is to exhibit the images in the same place where they were taken.

I thought of calling this practice "recursion: I trust can also stimulate the passer-by as an occasional viewer.

Some open points could enrich or, on the contrary, penalize the project from the point of view of the final result:

 -      the practical application will be made during the autumn or winter period and after more than a year from the original shooting of the photographs.

-      in that particular location, it is not allowed to exhibit works on the street, not even temporarily: I should therefore aim for a "flash exhibition", one image at a time, lasting a few minutes, no more. It would be a performance, more than an exhibition, but it could work.

According to my Tutor, I should delve very deeply into the meaning I intend to give to this initiative and what type of outcome I expect.