“You can pretty much do anything you want with digital technology, and [veteran effects supervisor] Doug Trumbull once said to me, 'If you can do it live, do it live,'” Scott said during the Prometheus presentation at San Diego ...
Normalcy (moments of imagination and memory) mixes still photography, video and sound as a way of documenting the intimate spaces and moments of life in the aftermath of terror in Colombia. Based in a town along the Caribbean coast where paramilitaries massacred more than 30 men in 2000, I documented moments of the everyday 6 years after the event. Through the banality of life, through the quietness of simple activities and situations many times filtered by my own imagination, I recall the possibilities of remembrance embedded in such moments, especially in places where silence has been a means of survival. The work raises the question of what it means to return to normalcy, to live in a place where the past inhabits the present in unexpected ways.
This a common concern amongst participants in the Thinking Practices module and once again it came up last week during our debate on writing strategies for the module’s essay: how to combine the artistic approach with the academic requirements, how to write in a creative manner whilst following the need for rigorous referencing and quoting as a way of legitimising one’s assertions? The Journal of Artistic Research (JAR) is used to similar questioning so its interesting to see what they propose as a their format to publish artistic research.
It started in the 1970s with a group of artists seeking to reengage the physical facts of photography, its materials and processes, by turning to the history of photography for metaphors, technical information, and visual inspiration.
The Carabineers (French: Les Carabiniers) (1963) was the fifth narrative feature film by French filmmaker Jean-Luc Godard.
Les Carabiniers (1963) tells the story of two poor men called to serve in battle, lured by promises of the world’s riches. Ulysses (Marino Mase) and Michelangelo (Albert Juross) receive letters from the king of their fictional country that allow them to have complete freedom from consequence while fighting in the war, in return for anything they desire —swimming pools, Maseratis, women— at the enemy’s expense.
Their wives, Venus and Cleopatra (Catherine Ribeiro and Genevieve Galea) encourage them to fight when they hear about the riches. They leave and cross the battlefields and villages, destroying and pillaging as they wish. The pair’s exploits are recounted through postcards sent to their wives, telling tales of the horrors of battle. The previously idealistic idea that the men have of war disintegrates, as they are still poor and now wounded. They return home with a suitcase full of postcards of the splendors of the world that they have fought for, and are told by army officials that they must wait until the war ends to receive their pay.
The renowned author and critic Susan Sontag referenced the film in her 1977 collection of essays On Photography. With respect to the "two sluggish lumpen-peasants" returning home bearing postcards of the treasures of the world instead of tangible treasure, Sontag noted that "Godard's gag vividly parodies the equivocal magic of the photographic image." 
Welcome to Sensate, a peer-reviewed, open-access, media-based journal for the creation, presentation, and critique of innovative projects in the arts, humanities, and sciences.
Our mission is to provide a scholarly and artistic forum for experiments in critical media practices that expand academic discourse by taking us beyond the margins of the printed page. Fundamental to this expansion is a re-imagining of what constitutes a work of scholarship or art. To that end, Sensate accepts and encourages non-traditional submissions such as audiovisual ethnographic research, multimedia mash-ups, experiments in media archaeology, time-based media, participatory media projects, or digitized collections of archival media, artifacts, or maps. Sensate accepts submissions of finished projects, proposals, and reviews of works (monographs, films, exhibitions, etc).