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How can structural film expandthe language of experimental
ethnography?
PhD.
Brad ButlerUniversity of the Arts, London
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Instructions:
Read yourself into a position of crisis
Start your film from there
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Abstract
Sets out overriding question
Gives some context
Suggests relationship between theory andpractice submitted
Suggests point of arrival
Flags up the future work in the making
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Research methodology
This thesis was written over a four year period
during which I visited India three times and
Pakistan twice.
Throughout this time my research question
remained the same, but I did pursue many different
strategies, approaches and experiments in order toevaluate what this question meant for my practice
and what my practice meant for this question.
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It has been my method to attempt to document
the process of my ideas evolving in time in order
to assess and profile the potential in this cross
fertilization.
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It is my argument that The Exception and the Rule
developed out ofThe Autonomous Object?
influenced by my ongoing reading that was also
challenging my practice.
This is recognized in a text entitled INTERMISSION,
which occurs between Chapters 3 and 4 as a
self-critique of my ideas drafted before, during
and after my two main field trips. This personal
and subjective diary documentation of cul de
sacs and ideas caught in time is a practice notebook
that stands in contrast to the academic
authoritative tone of the other Chapters in this
thesis.
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These notes present my grappling with theories
and ideas before travelling on my first trip to India
(hereinafter: FIELDNOTES A) interwoven with a
critique of these ideas before traveling to Pakistan
(hereinafter FIELDNOTES B). My actual field diaries
are not quoted here because it is the contention of
this experiment that the INTERMISSION is the gapbetween field trips and not the experience of being
abroad.
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I have left uncorrected any navet in this early
theoretical writing.
This INTERMISSION is being submitted here as
practice.
The INTERMISSION allows the reader to experience being lost
in ideas, confluences and unfinished thoughts as well as feeling
narrative agency. Feeling lost is a juxtaposition to the authoritative
nature of the rest of the the writing in this thesis, a parallel process toThe Exception and the Rule which starts in documentary narrative
structures and ends in abstraction.
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Fieldnotes B
I have just read back over my first ideas and
have come to recognize that I need to take a
step backwards before I can think about
Pakistan. This is in recognition of the fact that
my written thoughts before going to India are
fragmented, lateral and full of imaginary even
though at the time those lateral jumps felt to melike a clear and coherent strategy
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Fieldnotes A
Reflections on Fieldwork (Rabinow, 1977) begins
with the authors troubled state of mind in Chicago
and ends with a critique of his relationships with his
participants in the field in Morocco.
This book was written years after this fieldwork took
place by memory and field notes. Still Rabinow
frequently profiles interruptions boredom andmiscommunications as a core context of this
enquiry.
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Collaboration
Intermissiondifferent genre of writing withargument that this brings the logic of the
practice into the written part of the thesis Further red text in chapter 4 when describing
scenes in films
Clear directions to reader about whatdecisions have been made and why e.g.instruction to view film now
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Curating the Farm
Georgina Barney
MPhilRobert Gordon University, Aberdeen
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Introduction
What is agriculture (pp. 8-25) is an essay from
the inside of practice. It proposes methods of
asking what it is we mean by agriculture, and
why it is important.
I am a visual artist and writer. Project and map
Farming Fiction, event What is my Apology for
Poetryand exhibition Curating the Farm: Exchange
and Value are the spine of my practice element of
research.
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Poetry constantly provided an access point into the
protocols of academic research. In the first section
ofWhat is agriculture (From the beginning)
writing about Ted Hughes enabled me to grapple
with artwork in a form at ease with its own
condition of being in words. I was likewise able to
make suggestions in the text in combination with
photographs and scanned drawings of how we
can think of farming [in a way] that acts I hope in relation
to this documents requirements.
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I write about Jen Hadfield and Seamus Heaney,
poets for whom agriculture is a concern.
Hadfield lives in the Shetland Isles. Its remote
language and landscape penetrates her work
and experiences. The return of Seamus Heaney,to rural Ireland from Belfast formed the basis of
1979 publication Field Work. In particular, the
Glanmore Sonnets chronicle this move through the
memories of the farm where he grew up in NorthernIreland. Reading their work informs and creates
opportunities to understand mine.
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I have also drawn into the work of this whole
document artwork that creates interventions in
the text, including the script forA Play. My
appendices demonstrate attempts to create
other kinds of linkages between artwork; the
experiences that made artwork; and the
experiences of reading with(in) the expectationsof research.
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Please continue
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No methods chapter
Bare minimum of explication
substitution of poetic text, exegesis and poeticpractice
Multi-layered documentvideo, photographic
and archival documentation becomes material
part of thesis
Unusual beginning to viva
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the experience of being inside practice marks thewriting
explication is reflected on and reduced
form of PhD is questioned/reworked
cul de sacs and moments of understanding arerevealed
carefully edited
the reader is addressed in intimate ways
the alternative form is noted and to some degreetheorised
Writing from the inside out
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