Over the past few weeks, I have been struggling with conceptual ideas of how to visually engage the notions of speculative realism and the method of the Peregrine in some form of delineation, and I think some of that inner struggle may have come out as anxiety, - albeit, active and enthusiastic though I hope.
It has suddenly dawned on me, almost like a "Eureka" moment in thinking about the original book, "The Peregrine" and the observations of JA Baker...
It seems obvious to me now, what I have been missing!
What I need to do, is to draw what the Peregrine sees!
e.g. to bring, through some sense of mediated discourse in DRAWING with another creature, 'the life of JA Baker', as witnessed by the Peregrine on a daily basis. To Peregrine, every day's observation of JA Baker might have been utterly insignificant to the bird himself, (the "Tercel") and what he actually sees occurring on a daily basis, may have not considered the clothed human, constantly watching him, as important.
In discussing this notion with Dr Bailey, it became evident that much of my own research will consist of making sense of other artists, who may have done similar work. I accept that there is much scope to review this and I need to carefully select appropriateness to avoid any potential rabbit holes (No pun to the Peregrine intended, although he might like that anyway)!
In analysing 'The Peregrine' text, the objective for me is to look at a perspectival shift. This change in perspective or shifting viewpoint must be considered carefully and in particular how I am going to achieve that to carry off a realistic new view and outlook from such a dimensional. It was suggested by another PhD research student that I looked at the film by Chris Pinney entitled Leviathan. This was directed by Lucian Castone-Taylor who is head of the Harvard University Sensory Ethnography Laboratory.
Conclusions:And subsequently reviewing that film, whilst these are indeed an alternative viewpoint (and a wonderful deep engagement from a human visual point of view) all that actually seems to be happening is the camera is placed where the seagulls are placed, or where the fish are placed...
- This still makes for an anthropocentric view of the world through another creature's eyes.
- Immersing myself in the film for its complete cycle reaffirmed my desire and anxiety to try to mediate the point of view through the act of drawing itself! This is quite a difficult challenge because I suspect that, to many, the outcome may be very esoteric and difficult to understand.
- Nevertheless, this, however, must not hold me back and my commitment to continue along the theme originally envisaged is growing stronger daily.