CERES Presentation

by stronged




(Vine that can be seen here)





(Gif of audiences watching a film)



The CERES Research day involved all current Honours students to take to the podium (so to speak) and present their up-to-date Research Question and project for the year in five minutes. Each slide would be up for thirty seconds and a uniform structure was imposed by the powers that be (Adrian). These included a) mentioning your research question, b) Introducing key theories and theorists related to your research question/practice, c) a working hypothesis (what we believe to discover), d) how we intend to prove this hypothesis, and e) any questions we would like to ask the audience.

As with all presentations I found the event incredibly nerve-wracking. Makes me question myself why I desire to become a teacher. It took me quite some time to pull together a slide show that I felt would be relevant. When I did a dry-run with Ben, Steve and Simon the night before the feedback I received was I had injected WAY too much information into each slide. As per usual, I had over-thought about the project and made it bigger than Ben Hur. Once I stripped each slide back I found it to be more accessible as a speaker and audience member.

Received some great feedback from people on the day. Although, most of the points mentioned were expected. The resounding consensus was: What’s the doco going to be about?? Good question. Wish I knew the answer.


  • What will the audience get from it? – I am hoping new connections made, creative break-throughs in learning about something new/different. Not entirely sure what that something will be yet. I have been brainstorming some topics that may be compatible with Korsakow. Deconstructing conversations may be a fun exercise. To SNU’ify any given conversation and see what the outcome is. How the meaning distorts, changes, etc. when processed through Korsakow. New assemblages are created every time a user interacts with the K-Film and therefore perhaps new meaning occurs for the conversation? I’d like to try this out in script form over the break. Another idea is to investigate lines of flight in a more formal sense. Interview creatives about their experience of creative solutions or epiphanies. Their dalliance with the capricious muse called genius. This would involve a broad cross-section of creatives ranging from writers, potters, artists, graphic designers, chefs, parkour aficionados, etc. By importing the footage into Korsakow comparisons may be drawn from all responses to see whether there are any similarities or differences. I see this exercise being more accessible as a stand alone piece and perhaps more beneficial to a wider demographic?
  • Read Reality Hunger by David Shields – I’ve been meaning to get stuck into this ever since the NonFiction Now Conference that Shields spoke at. Apparently he appropriates other publications in a fragmentary way so you can pick up the book at any point and take something away from the reading. Much like the rhizomatic nature of soft-video-assemblages (i.e. K-Films, Interactive Docos)


  • Watch 2:37 (after googling this I discovered I saw this Aussie flick when it debuted at MIFF)
  • Punchdrunk Sleep No More – A recreation of Hamlet broken into several components and performed on different floors within a disposessed hotel out of London (i think). Great idea. Would go to a performance like this in a heart beat.
  • Situationists – Guy D’eGerd – 
  • Maria Irene Fornez – Fefu and her friends – Feminist play broken into fragments to convey the unity of females plight in contemporary society.


  • Jameson’s critique of Deleuze: “Marxism and Dualism in Deleuze” – Have located this. Looking forward to having a read.


  • Does losing a part of the narrative hinder the experience for the user? – “Hinder” is an interesting choice of words. I do not think it limits the user capacity to engage in the narrative components nor their enjoyment levels. I feel that soft-assemblages are just different. Different to hard-narratives in the sense that the user must be proactive in their comprehension of the material/content.


  • Open-ended narratives plausible if user does not feel betrayed – Completely agree with Cal about this. The fine line artists tread between toying with their audience to entice them to read on the one hand, and creating a firm trust by giving them what they want on the other. Quite the balancing act. Even notorious auteurs such as Hitchcock, who would rattle off comments about “actors being cattle” and to “Always make the audience suffer as much as possible” still served up a bountiful supply of gratifying narrative elements in his films. For example, there is always a distinct denouement by the close of the film, and a pretty face to watch throughout.


  • Vladimir Propp’s structuralism “Mythology of the folktale” – I’ve noticed this is a BOOK Gem! Ay caramba! Will need to bench this expedition until the mid-year break.


  • Micke Bal on narrative – 


  • ‘Choose your own adventure stories’


  • What are the boundaries around the project? An important aspect of setting realistic goals (not my fortay!). Must think about the length, etc. Ben’s identified one of my greatest weaknesses.


  • Drop the New Materialism influence with the POV of path. Instead, focus on people – for that’s what I am more interested in. – Couldn’t agree more. Have no idea where I pulled the path POV from!
  • Read up on “Hypervideo” and Marie-Laure Ryan – I have been reading Ryan and been blown away by her knowledge-base and profecient writing.


  • Think about desire paths in terms of effectiveness rather than efficiency – This is an important distinction I must make explicit in future academic discourse. I feel one of the major learning curves in academia is establishing clarity and functionality in communication practices. Academic writing is all about communicating concepts in a judicious and succinct manner.
  • Found there was a disjuncture between desire paths (herd mentality) and lines of flight (creative movements against the norm) – By marrying these two terms together I am trying to highlight that some lines of flight have been traversed by many. Noting particular routes that have been etched out in soft-assemblages would perhaps show a correlation between what people are attracted to in a narrative sense and how a diachronic path dictates the next decision made by the audience/user. High hopes and too big a research project to acheive in Honours alone. However, I could perhaps chip away a fraction of the research involved in such an investigation.
  • Suggested contacting Dr. Martin Wood RE lines of flight – Lines of flight, as a Deleuzian concept, was first brought to my attention by Dr. Wood in a seminar on ethnographic storytelling. I have since tracked down the short film he has made about rock climbing acting as a line of flight for white and blue collar workers alike in the North Pennine region of England.