susan

thanks for this so far - but the writing can be a little more relaxed/informal if you so wish Les
 * post your 200 word statement of intent**

The book as a game with space and language.
 * George**

What happens when meaning is interrupted? In someway the act of reading insulted. Can a book fall into a meaningless state? It is still a book. Rather than a book being a container of meaning the book becomes potential.

Exploring the insignificant in an attempt to find a meaning in relation to an experience. As a result is the book empty to everyone else. My insignificant gestures become ephemeral memories. From my experience is formed a cryptic language in representing my reaction to an event. Can the book have a shared significance to anyone else? Can the meaningless I seek impose on you? Can you be affected by the potential of a book rather than the content?

My project recently has become about the instant. The immediacy of an event. I aim to develop this into something that re-enacts that instant of something trivial. Book work’s that form ephemeral dialogues. They are there for you to hold but once read are gone. Like a spring they represent potential. They don’t hold or at least they hold until you have read them, they become you. The act of discovery becomes the dialogue. The result a shared memory.

Through reading Gordan Matta-Clark and his ideas on space I have come across a group : ‘The Situationist International’. Their ideas on the construction of situations is something I need to read into. Also Simon Morris’s ‘re-writing Freud’ and the work of ‘information as material’ challenges meaning.


 * Egidija**

I am interested how image (or other visual form) and words work with each other and against each other: __misinterpretation, connotation, ambiguity, visual metaphor__, etc.

I want to look into perception and interpretation of an image/form/words (as a whole). I am a bit nerdy, so I enjoy reading all sorts of nerdy magazines and nerdy books, that talk about how and why we interpret things as we do. I am fascinated how words can redefine the meaning of an artwork and how artwork can extend the meaning of a word; what happens to an artwork without title; what is the range and process of interpreation; how that can be affected, etc.

I may work on my theoretical interest through __the subject of fear and mystery__: Wilhelm Hauff tales (!!!), childhood fears, etc. - __the darker side of things, but with a whimsical touch.__ But all this may change :-)

Through a series of smaller self-induced projects, I would like to explore a range of processes and materials, consider how they behave in each context.I would like to produce a __books of unorthodox structure, appearance and nature__. I hope they will be brave and they will be __fun to see/use__. I would like to work predominantly with __found, used and reclaimed materials__. I find them amusing and unpredictable.

I will also record people’s opinions and interpretations; investigate them and consider results in my work.

I will be using loads loads of sketchbooks for image making; camera; junk shops and markets for __wonderful and peculiar things; ceramic studios__ and __printing__ on/with anything that will not wreck the equipment; letterpress on anything James will allow. __East End galleries__ (esp. Vyner Street) and Book Fairs. Etc.

I like the work of Timorous Beasties, Kara Walker, John Digby, Cynthia Lollis (she wrote on eggshells!), Grayson Perry, India Evans, Alexander Echo, Stephen Bowers, Victorian moving books/pictures, etc.

Veronica

A study of visual storytelling for visually impaired children. I ame to give these children an accessible literal experience. A finished product, preferably in shape of a book. And a way to continue working towards getting it published and just as available as a "standard" children`s book. Works of other authors like Anette Diesen Inger Lise Belsvik, Rosana Faria. Works and events by different organizations that work to benefit children with this handicap. Look at what makes a book a book to children. A variety of sources: library, organizations that work to benefit the blind. Hope to work together with a writing person on the development of text. Interviews with the children. A study of materials. Drawing and printing equipment. Might need special printing equipment for printing in braille? Granted access to organizations, and their members for interviews. Visits to children's library sessions. Observation. Working with another person, to write the story? Maybe someone who has the disability?
 * Research question (ish)**
 * Aims and objectives**
 * The Context**
 * Methodology**
 * Resources**

Evelina
 * Memories from the past – expression of present****?**


 * A** book will tell you secrets and it will keep yours. Book is information, but it is also a thing to keep. See it. Read it. Touch it! Take it. A “bookwork”, someone said, “Is a work of art in book form” the art comes down off of the museum wall and lies across our knees. Turn the page. In a book anything can happen. Books are the last repositories of magic with memories from the past, emotions of present and ideas of tomorrow. Words express our thoughts and feelings and therefore are very important. The paper is used to record emotions, thoughts… The book is mix of words, images and paper and has been a part of communication history since the beginning of human life. Books are pieces of us. These are the things we need to survive — air, water and light. The rest can be found in the books.
 * O**n my research on bookbinding and creating books as an art objects (book as sculpture), I have been looking at Altered Books, because I realized that I have a basic need to make and hold physical objects in my hands and I do love old books. I see book artists as the saviors of books. Not only have they preserved traditional book techniques and saved equipment from being destroyed, they have made society stop and look at books with a fresh perspective. I went on to research several “book” artists as E. Woźniewska, J. Tschichold, C. Hansson, A. Fletcher, and Irma Boom. Every type of book, from children book to an encyclopaedia or poetry, has its own style of communication. I have found excellent influence and reference in The Book Arts website. Book - this unique art form gave me an interest in knowing more about it and an idea to create my own book. I hope I will find right way in how to combine childhood memories (using old children books from past) and sense of present emotions in a book art form created for the heart and eyes.
 * M**y use of techniques to achieve the project will include hand drawing and some altered book technique. I also will use a range of other materials and mediums for preparing my project for visual view. Hence I will use other media, like watercolours or acrylic, digital printing as well. Access to artist’s books collections and access to print, letterpress & book binding workshops would be an advantage.

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 * Janine**

When I originally made the project proposal/ application to study at Camberwell I was thinking about methodology for the transmission of movement information through a book form. This is probably because I am from a movement background, but what was most intersting to me was how intimate "book thinking" was becoming to my general thinking...Does that make sense? Instead of intuiting movement of bodies I was thinking in terms of book structure. At the time I was working choreographically as part of Critical Pathways- a group of dance artists mentored by Rosemary Butcher. I kept presenting paper sculptures, drawings, film animations of paper work as part of my dialogue with the group. I was finding that my embodied understanding of my subject matter (spanning various experiments/ investigations of the body in gravity) was also working itself out in other media, making connections too with writing I had abandoned. Rosemary asked me //"Is it a movement piece?"// And I thought, yes because everything is a movement piece isn't it? I mean we are never still, even the suspended environments I tried out were not still in photographs- there is a history of movement there. I think so anyway. So, I suppose I felt that my inquiries were valid and suppressed the worry I had that as a choreographer I was failing the dance world by deviating into other means....It's somewhat circular. I made a dance work with some success and that research continues but have also opened up many new possibilities as a maker. That's why I am at camberwell.

The work: interest in the ephemerality of movement, the language of disapearance and questions of desireability of being //"here and gone here and gone"// (Deborah Hay), the paradox of that interest with the making of objects, disappearance, loss, transposition from body-language-object, disorientation, page as stage, the episode within a structure of the whole, appearance of movement.

Processes: letterpress, writing from movement and observation, printmaking, possibly 3D workshop, interview, drawing, embossing, photocopying to white, wool felting.

Artists/ Sources: Capefarewell artists, Simone Forti, Dave Muller, Deborah Hay, Denis Darzcaq, Edward Gorey, Jean Paul Sartre, Merleau-Ponty, Bruce Nauman, Carsten Holler, Pinataland, Joe Goode, Bock & Vincenzi, the news, conversation, memory...

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Research Question(ish) ** I wish to explore the confines in which we adopt and apply to ourselves through the reality we have chosen to create / exist in and the separateness that it can establish. Erm… **Aims and Objectives:** I intend to question social, political, perceived structures of understanding and deconstruct them with the book focused as the medium for conveying this information. Narratives may assume part of the role as they are fun and possibly poetry…perhaps. Theorists and artists as starting points include Guy Debord, Niall Ferguson Gyorgy Doczi and Jacque Fresco, Keith Tyson, Robert Crumb, Bruno Munari. The search continues… No method of research and experiment will be overlooked. Will try to access as many types of printing resource possible to fit the enquiry at that time. May push the boat out with a Xerox or two… Naturally libraries, archives, films, plays, dance, music, other artists books….the usual.
 * Lee
 * The Context: **
 * Methodology: **
 * Resources:**


 * Irena**

=
A few weeks before I came to London, I started being involved in text more and more. Just writing my stream of thoughts, without correcting myself, without censorship. The only conscious effort was guiding myself on one side or the other; like walking through the streets of unknown city, exploring, not going anywhere, but still navigating in one direction, just enough not to get lost completely. ======

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Realization that through all of my books there is one question that always emerges, a kind of unrest about one thought- about freedom, a personal freedom, made me want to try to research that theme. I want to try to draw, pull out that answer on which I waited a very long time: what is exactly personal freedom, and what does it mean for me, intimately, in this moment in my life. Maybe it will be too hard to find an answer, or I will get pulled in another direction. ======

I started to research artists involved in Fluxus movement, to find a context, because I think their goal was also that personal, artistic, spiritual freedom.
Pauline Research Question: How can a walk be interpreted or represented as an artist's book? Aims and Objectives: Walking is at the core of my artistic practice. I started by exploring the rural environment in which I live and then went on to compare the differences between urban and rural landscapes. I now want to evaluate the way we create a sense of place and how we are pulled back to places with which we are familiar. I have previously realised interpretations of my walks, often in the book form. Even though these have been successful, I want to develop new interpretations and representations of the art of the walk. The Context: The work of Hamish Fulton, Richard Long, On Kawara, Sophie Calle, Sol Le Witt. Literary sources such as Solnit, Lippard, Casey, Spirn, Sinclair. AB sources such as Courtney, Lyons, Riese, Rothenberg and Clay, Drucker. Methodology: I will walk in London and collect evidence. I will record my walks using photography, drawing and written and visual diaries. I will analyse the material and use it to make books. Resources: Camera, mobile phone, drawing and printing equipment. Access to artists' book collections in London, libraries and exhibitions. Imogen Research Question Explore the use of space and place in a City. How is city place given meaning through its varied use by its inhabitants and how can this be represented in book form? Aims and Objectives I aim to explore the physicality of the book as a site for representing place and space. I will use the city of Havana as a case study. I will explore the buildings, their structures and textures, and also discover how they are used and decorated. It is an exploration of the culture and environment in and around city dwellings. I will look at how the buildings are used and explore the personality of the city reflected in its buildings and their usage. Context I have been looking at street photography from the 1930s by artists such as Henri Cartier-Bresson, Robert Frank, William Eggleston and Joel Meyerowitz. Jan Svankmajer’s short film ‘Bach Fantasia in G minor’ shows a journey through a building. Also K. Campbell, M. Parr, Bachelard and Sennet are relevant to my project. Methodology I will explore the city and record my observations using photography and sketching. I will also collect found object. Resources Camera, sketch book. Access to college printing resources and libraries. Christine Research Question The study of pattern: Observations and analysis of patterns in the natural world, e.g. in nature, how is the male/female ratio/balance maintained? Aims and Objectives: I intend to address the ecological, political and social issues that arise from these studies and communicate this information through the exploration of techniques, materials and the form of the book. The Context: Art that engages with the natural and social sciences: The Welcome Collection and The Arts Catalyst. The prediction work of Li Edelkoort. Outsider art such as the Prinzhorn collection. Methodology: I will research my area of study using a variety of sources eg: Libraries, museums, specialist media and a dialogue with groups or individuals. Relevant information and points of interest will be recorded in notebooks/files/recordings. Resources: Journal /sketch book Workshops to experiment with new materials and techniques Libraries e.g. The Wellcome Collection +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++