The photo-essay that follows offers a brief illustration of Blur Street, a transnational pedagogy... more The photo-essay that follows offers a brief illustration of Blur Street, a transnational pedagogy project that creates visual conversations about contemporary formations of urban identity. An initiative led by Kathleen Irwin, Rachelle Viader Knowles, and myself (Laura Levin), Blur Street takes the form of a series of workshops in which students from different national contexts use video imagery to situate themselves and each other in their respective local environments.1 This process of reciprocal imaging is displayed on a shared website, where participants post two-minute edited video sequences and view the urban self-portraits of their international counterparts. Using the city as laboratory, students are asked to identify urban behaviors that do and do not easily fit into conventional narratives of national or local character, and are invited to imagine alternative kinds of self-world affiliation. Open image in new window Figure 9.1 Blur Street website, Belgrade-Regina conversation Photo: Ivana Knez, Masa Djurisic, Ana Vilenica.
For a long time now, I have become increasingly discontent with the stage as a place for compelli... more For a long time now, I have become increasingly discontent with the stage as a place for compelling and relevant theatre. More and more, I agree with the sentiment that such staged theatre is moribund. I read avidly about the innovators who belie this sentiment, and occasionally, when I travel, I see theatre that still raises neck hairs. Looking for a new direction, a new venue perhaps, I have allowed my discontent to lead me, as a scenographer, away from the stage. I now employ non-conventional methods, experiment site-specifically and use interactive installations and web-based games to expand my portfolio. More and more, I find, my work is collaborative and reliant on technology.
Images 1-6: Photographs by Rachelle Viader Knowles (2012)This article discusses the cross-cultura... more Images 1-6: Photographs by Rachelle Viader Knowles (2012)This article discusses the cross-cultural, augmented artwork Parallel Worlds, Intersecting Moments (2012) by Rachelle Viader Knowles and Judy Anderson, that premiered at the First Nations University of Canada Gallery in Regina, on 2 March 2012, as part of a group exhibition entitled Critical Faculties. The work consists of two elements: wall pieces with black and white Quick Response (QR) codes created using traditional beading and framed within red Stroud cloth; and a series of videos, accessible via scanning the beaded QR codes. The videos feature Aboriginal and non-Aboriginal people from Saskatchewan, Canada telling stories about their own personal experiences with new technologies. A QR code is a matrix barcode made up of black square modules on a white square in a grid pattern that is optically machine-readable. Performance artist and scholar Rebecca Caines was invited by the artists to participate in the work as a subjec...
This paper discusses how the multisite artwork The Dialogic demonstrates an innovative, supportiv... more This paper discusses how the multisite artwork The Dialogic demonstrates an innovative, supportive and generative artwork-as-method which resists overly reductive, and prescriptive tendencies within practice-led research. It continues a dialogue between participants that has been ongoing since 2012. The Dialogic has been adapted through the work of multiple artists, and this iteration is offered as a dialogue between the artists John Hammersley and Rachelle Viader Knowles in response to reflections in the work of Simon Pope. The Dialogic emerged as a method-work which imbricates the artist in socially situated exchange across multiple contexts, enacts coauthored and co-produced meaning-making, and challenges assumptions about the separation of art and research and notions of the detached artist-researcher. Its innovative contribution to practice-led research is how it demonstrates dialogical art as the on-going re-construction of a community of support, sustained through a commitmen...
Full version: Access restricted permanently due to 3rd party copyright restrictions. Restriction ... more Full version: Access restricted permanently due to 3rd party copyright restrictions. Restriction set on 24.11.2017 by SE, Doctoral College
The photo-essay that follows offers a brief illustration of Blur Street, a transnational pedagogy... more The photo-essay that follows offers a brief illustration of Blur Street, a transnational pedagogy project that creates visual conversations about contemporary formations of urban identity. An initiative led by Kathleen Irwin, Rachelle Viader Knowles, and myself (Laura Levin), Blur Street takes the form of a series of workshops in which students from different national contexts use video imagery to situate themselves and each other in their respective local environments.1 This process of reciprocal imaging is displayed on a shared website, where participants post two-minute edited video sequences and view the urban self-portraits of their international counterparts. Using the city as laboratory, students are asked to identify urban behaviors that do and do not easily fit into conventional narratives of national or local character, and are invited to imagine alternative kinds of self-world affiliation. Open image in new window Figure 9.1 Blur Street website, Belgrade-Regina conversation Photo: Ivana Knez, Masa Djurisic, Ana Vilenica.
For a long time now, I have become increasingly discontent with the stage as a place for compelli... more For a long time now, I have become increasingly discontent with the stage as a place for compelling and relevant theatre. More and more, I agree with the sentiment that such staged theatre is moribund. I read avidly about the innovators who belie this sentiment, and occasionally, when I travel, I see theatre that still raises neck hairs. Looking for a new direction, a new venue perhaps, I have allowed my discontent to lead me, as a scenographer, away from the stage. I now employ non-conventional methods, experiment site-specifically and use interactive installations and web-based games to expand my portfolio. More and more, I find, my work is collaborative and reliant on technology.
Images 1-6: Photographs by Rachelle Viader Knowles (2012)This article discusses the cross-cultura... more Images 1-6: Photographs by Rachelle Viader Knowles (2012)This article discusses the cross-cultural, augmented artwork Parallel Worlds, Intersecting Moments (2012) by Rachelle Viader Knowles and Judy Anderson, that premiered at the First Nations University of Canada Gallery in Regina, on 2 March 2012, as part of a group exhibition entitled Critical Faculties. The work consists of two elements: wall pieces with black and white Quick Response (QR) codes created using traditional beading and framed within red Stroud cloth; and a series of videos, accessible via scanning the beaded QR codes. The videos feature Aboriginal and non-Aboriginal people from Saskatchewan, Canada telling stories about their own personal experiences with new technologies. A QR code is a matrix barcode made up of black square modules on a white square in a grid pattern that is optically machine-readable. Performance artist and scholar Rebecca Caines was invited by the artists to participate in the work as a subjec...
This paper discusses how the multisite artwork The Dialogic demonstrates an innovative, supportiv... more This paper discusses how the multisite artwork The Dialogic demonstrates an innovative, supportive and generative artwork-as-method which resists overly reductive, and prescriptive tendencies within practice-led research. It continues a dialogue between participants that has been ongoing since 2012. The Dialogic has been adapted through the work of multiple artists, and this iteration is offered as a dialogue between the artists John Hammersley and Rachelle Viader Knowles in response to reflections in the work of Simon Pope. The Dialogic emerged as a method-work which imbricates the artist in socially situated exchange across multiple contexts, enacts coauthored and co-produced meaning-making, and challenges assumptions about the separation of art and research and notions of the detached artist-researcher. Its innovative contribution to practice-led research is how it demonstrates dialogical art as the on-going re-construction of a community of support, sustained through a commitmen...
Full version: Access restricted permanently due to 3rd party copyright restrictions. Restriction ... more Full version: Access restricted permanently due to 3rd party copyright restrictions. Restriction set on 24.11.2017 by SE, Doctoral College
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Papers by Dr Rachelle Viader Knowles