Triptych

Genesis, Kavana, Sabbath

Ben Spatz, Nazlihan Ercin, Caroline Gatt, Agnieszka Mendel

Research output: Contribution to journalArticle

Abstract

These three video essays come out of a multi-year research project that attempts to rethink and redesign the relationship between embodiment and audiovisuality in the context of academic research. As one anonymous reviewer noted, they gesture towards “a new kind of research artifact, making a space somewhere between standard documentation and contemporary creative product.” All three of the video essays comprise footage taken from experimental practice or “laboratory” sessions conducted at the University of Huddersfield in summer 2017. During this period the core research team (Ben Spatz, Nazlıhan Eda Erçin, and Agnieszka Mendel) undertook sustained practice research, working with and through a selection of Jewish music recordings from the Smithsonian Folkways Records archive. Arising from the project’s aim to investigate contemporary identity through songwork, the three videos are linked by the Jewish provenance of their titles, each of which names a key concept in Jewish religious thought. However, in no case does the title of the video essay refer to an explicit focus in the documented practice. Rather, the titles were imposed afterwards as part of an editorial process that frames the selected audiovisual material in a particular way, relating it to my own perspective and to the research aims of the project. The relationship between the collaborative dynamics of the documented practice and its subsequent editorial framing raises many questions about the ethics and epistemology of embodied audiovisual research. This research statement does not undertake a full exploration of such issues, as doing so would undermine the claim that the triptych stands on its own as a substantive research output. My intention here is only to offer some additional context and methodological background regarding the process by which these videos were made.
Original languageEnglish
Article number8
Pages (from-to)1-10
Number of pages10
JournalPARtake: The Journal of Performance as Research
Volume2
Issue number2
Publication statusPublished - 31 Jan 2019

Fingerprint

Sabbath
Genesis
Triptych
Mendel
Documentation
Religion
Epistemology
Academic Research
Names
Reviewers
Smithsonian
Experimental Practice
Artifact
Research Teams
Gesture
Research Practice
Embodiment
Footage
Thought
Huddersfield

Cite this

Spatz, B., Ercin, N., Gatt, C., & Mendel, A. (2019). Triptych: Genesis, Kavana, Sabbath. PARtake: The Journal of Performance as Research, 2(2), 1-10. [8].
Spatz, Ben ; Ercin, Nazlihan ; Gatt, Caroline ; Mendel, Agnieszka. / Triptych : Genesis, Kavana, Sabbath. In: PARtake: The Journal of Performance as Research. 2019 ; Vol. 2, No. 2. pp. 1-10.
@article{3313f0f7d6d247ce8c162ec8c8d84ee5,
title = "Triptych: Genesis, Kavana, Sabbath",
abstract = "These three video essays come out of a multi-year research project that attempts to rethink and redesign the relationship between embodiment and audiovisuality in the context of academic research. As one anonymous reviewer noted, they gesture towards “a new kind of research artifact, making a space somewhere between standard documentation and contemporary creative product.” All three of the video essays comprise footage taken from experimental practice or “laboratory” sessions conducted at the University of Huddersfield in summer 2017. During this period the core research team (Ben Spatz, Nazlıhan Eda Er{\cc}in, and Agnieszka Mendel) undertook sustained practice research, working with and through a selection of Jewish music recordings from the Smithsonian Folkways Records archive. Arising from the project’s aim to investigate contemporary identity through songwork, the three videos are linked by the Jewish provenance of their titles, each of which names a key concept in Jewish religious thought. However, in no case does the title of the video essay refer to an explicit focus in the documented practice. Rather, the titles were imposed afterwards as part of an editorial process that frames the selected audiovisual material in a particular way, relating it to my own perspective and to the research aims of the project. The relationship between the collaborative dynamics of the documented practice and its subsequent editorial framing raises many questions about the ethics and epistemology of embodied audiovisual research. This research statement does not undertake a full exploration of such issues, as doing so would undermine the claim that the triptych stands on its own as a substantive research output. My intention here is only to offer some additional context and methodological background regarding the process by which these videos were made.",
keywords = "Practice research, Jewish studies, Audiovisual methods, Video essay, Experimental practice, Theatre laboratory, Artistic research, Embodied research",
author = "Ben Spatz and Nazlihan Ercin and Caroline Gatt and Agnieszka Mendel",
year = "2019",
month = "1",
day = "31",
language = "English",
volume = "2",
pages = "1--10",
journal = "PARtake: The Journal of Performance as Research",
issn = "2472-0860",
publisher = "University of Colorado",
number = "2",

}

Spatz, B, Ercin, N, Gatt, C & Mendel, A 2019, 'Triptych: Genesis, Kavana, Sabbath', PARtake: The Journal of Performance as Research, vol. 2, no. 2, 8, pp. 1-10.

Triptych : Genesis, Kavana, Sabbath. / Spatz, Ben; Ercin, Nazlihan; Gatt, Caroline; Mendel, Agnieszka.

In: PARtake: The Journal of Performance as Research, Vol. 2, No. 2, 8, 31.01.2019, p. 1-10.

Research output: Contribution to journalArticle

TY - JOUR

T1 - Triptych

T2 - Genesis, Kavana, Sabbath

AU - Spatz, Ben

AU - Ercin, Nazlihan

AU - Gatt, Caroline

AU - Mendel, Agnieszka

PY - 2019/1/31

Y1 - 2019/1/31

N2 - These three video essays come out of a multi-year research project that attempts to rethink and redesign the relationship between embodiment and audiovisuality in the context of academic research. As one anonymous reviewer noted, they gesture towards “a new kind of research artifact, making a space somewhere between standard documentation and contemporary creative product.” All three of the video essays comprise footage taken from experimental practice or “laboratory” sessions conducted at the University of Huddersfield in summer 2017. During this period the core research team (Ben Spatz, Nazlıhan Eda Erçin, and Agnieszka Mendel) undertook sustained practice research, working with and through a selection of Jewish music recordings from the Smithsonian Folkways Records archive. Arising from the project’s aim to investigate contemporary identity through songwork, the three videos are linked by the Jewish provenance of their titles, each of which names a key concept in Jewish religious thought. However, in no case does the title of the video essay refer to an explicit focus in the documented practice. Rather, the titles were imposed afterwards as part of an editorial process that frames the selected audiovisual material in a particular way, relating it to my own perspective and to the research aims of the project. The relationship between the collaborative dynamics of the documented practice and its subsequent editorial framing raises many questions about the ethics and epistemology of embodied audiovisual research. This research statement does not undertake a full exploration of such issues, as doing so would undermine the claim that the triptych stands on its own as a substantive research output. My intention here is only to offer some additional context and methodological background regarding the process by which these videos were made.

AB - These three video essays come out of a multi-year research project that attempts to rethink and redesign the relationship between embodiment and audiovisuality in the context of academic research. As one anonymous reviewer noted, they gesture towards “a new kind of research artifact, making a space somewhere between standard documentation and contemporary creative product.” All three of the video essays comprise footage taken from experimental practice or “laboratory” sessions conducted at the University of Huddersfield in summer 2017. During this period the core research team (Ben Spatz, Nazlıhan Eda Erçin, and Agnieszka Mendel) undertook sustained practice research, working with and through a selection of Jewish music recordings from the Smithsonian Folkways Records archive. Arising from the project’s aim to investigate contemporary identity through songwork, the three videos are linked by the Jewish provenance of their titles, each of which names a key concept in Jewish religious thought. However, in no case does the title of the video essay refer to an explicit focus in the documented practice. Rather, the titles were imposed afterwards as part of an editorial process that frames the selected audiovisual material in a particular way, relating it to my own perspective and to the research aims of the project. The relationship between the collaborative dynamics of the documented practice and its subsequent editorial framing raises many questions about the ethics and epistemology of embodied audiovisual research. This research statement does not undertake a full exploration of such issues, as doing so would undermine the claim that the triptych stands on its own as a substantive research output. My intention here is only to offer some additional context and methodological background regarding the process by which these videos were made.

KW - Practice research

KW - Jewish studies

KW - Audiovisual methods

KW - Video essay

KW - Experimental practice

KW - Theatre laboratory

KW - Artistic research

KW - Embodied research

M3 - Article

VL - 2

SP - 1

EP - 10

JO - PARtake: The Journal of Performance as Research

JF - PARtake: The Journal of Performance as Research

SN - 2472-0860

IS - 2

M1 - 8

ER -