Synthesis
The session observed ideas and methods of synthisis between ideas
To understand how other students had considered synthesis of ideas, it was good to hear from two students who had both struggled with connecting their written theory and research with their visual body of work. As someone who is very much at the stage where there is uncertain elements within the connection between theory and practice, it was encouraging to discover that this is not unusual.
I found it encouraging that the guest speaker Ann Goodchild. Ann struggled to link her research to her visual work and was left with a wealth of ideas that swamped the narrative of Living in a Prison and the way that Prisons are viewed from the outside. Having completed BOW/CS, Ann did not really experience a breakthrough moment until well into her SYP course when exibiting the visual work became part of her understanding. The synthesis between the reseach/ theory and Photography was aided by narrowing down the relevant theory into chunks that could then be more understandable and connected to the visual work. With less volume of accompanying research the photography could be more accurately communicated,although this was only achieved having digested vast amounts of relevant research and going through the process of reducing this by means of a hierarchy of relevance to the grand narrative. It was clear that this was an extremely difficult exercise and involved reducing elements of research that were relevant and yet broadened the final essay too much.
Having been asked to observe the work of Lisa Barnard and the methods that defined a recent project, I read through the BJP invsetigation. Upon reading it became reassuring to me that Barnard spoke about the number of failed ideas and ideas that were scrapped after taking considerable time persuing.
Some of the ideas are fairly complex and it appears many hurdles and rethinking had occurred before a connection with a narrative was reached.
Reading the write up from Lisa Barnard left me feeling relieved as she had documented many of the obsticles I found myself trying to vault. Heraing that this can be a way of developing a project provides me with some breathing space to expolre my chosen subject further and formulate a level of detail that both provides clarity and connects to a central point. ( I have since spent further time observing Lisa Barnard to register if I can take more than just a process away) 
Lisa Barnard’s investigation into the troubled history of gold Crossing four continents over four years, Lisa Barnard’s latest project explores our ongoing obsession with gold as “a potent symbol of value, beauty, purity, greed and political power”
Ariadne added that the key aspects of the synthisis between BOW and CS is about communicating the message accurately .
Struggling to link my thinking/ideas with my visual representations has been fairly standard for me over the past few months. I have certainly been successful at locating ideas, making a long list and slowly erasing those that would not be practical, ethical or would allow enough of my intentions to come through. I am finding that engaging with other OCA students and these Tutor Led sessions valuable to provide a route to working my way through this. Presently, I am reading and referring to other photographers as much as possible as a way to feed further thinking, in the hope that I can develop an idea into something visually plausible with a strong narrative.
Jane Weinman experienced a strong visual concept that came under criticism for the addition of Emojis to the finished work. The concept was based around the female menopause and the emojis were placed as the only colour element within the photography and signified the many emotions that are experienced within the changing cycle. What I found so significant was the level of persistence that Jane had to have to keep going with an idea that did not appear to have positive feedback from other corners of the OCA. The synthesis between the critical and practical approach did not occur immediately and much research was required to locate photographers who worked with black and white and aded colour in the edit. This approach along with Jane’s personal journey and experience with clients forged a coupling of ideas that developed within the visual representation over time.
Summary of tutor led comments
- Reading should influence your thinking which should influence your photography
- Have a good Artistic Statement
- Don’t be afraid of sharing work in the early stage
- Let your ides mature in your own mind
- Read as much as possible (some authors are easier than others – Try and refer to knowing what they want to say and what is their central point
- CS and BOW need to be one over time
- Think in images
Research & Identifying wider themes
This proved to be a highly instructive session for me and managed to allay some of my fears concerning the central pillars of my Body of Work. Prior to the presentation, I found I was putting myself under quite a lot of pressure to know which direction my work would go. Since the session with Ariadne and Gina my comprehension of a Grand Narrative is more accurate and I am more aware that a journey of exploration is often required before truly finding a moment that feels close to a central point. The strategies to understand and identify the wider themes of research are clearer in my mind, particularly the process of looking for the minor details which can lead to a different path to the original presumed route.
From the session I made notes on the salient points………………………….
Research
How we Identify wider themes of the subject
- The Written Word and photography are the same, however, the wriiten text neds to be eliquant and cisinct
- Avia stressed the importance of visual research and understanding research
- Find Particles for coherent sequenses of events
- The subject must interest and be investigated (why does it interest you)
- Always look for the minor details ( How much you analyse for coherence and truth
Questions that should be put to yourself before undertaking
- How can I tell (Initial Research)
- How do I know (Test Sources, other photographers)
- Open New threads from small openings (what are the connections)
- SO What…….
- Look at work as a puzzle (Needs reasoning)
- The Subject (clarify terms ..realism ect)
- The Solution (Structure in Logical Sequence)
- Question yourself and subject (take nothing for granted)
Establishing a research question
Tagmetrucs – Regard your topic as a particle and a wave with a chronological time (why change from victorian times ect…)
Engaging with primary research
What Value do they offer (test the source) – Know why you are engaging with specific photography research and how does it relate to your work – Link all sources back to your work
Methodology (map)
Resaerch your proposal and working hypothisis (plausable answer) – Can the working Hypothisis be the same as the actual hypothisis. Look within Psychology or Sociology and make it coherent to the narrative
Writing a proposal
Know who you are proposing to research and commence writing. This will help you get into the mindset for future work. Identify what makes the proposal special (what is the hook) – Write clearly corectly with authority and elequence.
Grand Narrative
The grand narrative is what your body of work is about (The big point)- Be prepared to reflect upon the understanding that the Gand Narrative can change. Also be prepared to cover all ares until you find a connection – Combine work let it merge
Gerard Hilderly Level 3 OCA 