"We took an element from Sharon's image (the black rectangle) and made this into a physical object. We then photographed the object in a location echoing/paralleling Sharon's image (a canal as moving mirror in reference to Sharon's video), contemporary artists' studios (the warehouse). Finally we took inspiration from the quality of Sharon's image itself (a printed reproduction) and digitally printed an object onto the photographed object to produce a crude figure (artist or model).” www.juneauprojects.co.uk
Read more about (c) Juneau Projects, no title, translation of Sharon's image, 15-22 April 2015:
“I was given some contextual background to Auriol’s translation of Sam’s piece that I initially thought I would base my translation on. However I felt unable to translate her narrative and realised I would only be interpreting it. Ultimately I turned to a material translation to translate some of the key themes of her work. Taking inspiration from translations such as Hölderlin's Antigone and Christian Hawkey’s Ventrakl, I hope my material translation can convey Auriol’s piece to you.”
Read more about (c) Katarina Kelsey, no title, translation of Auriol's image, 18-25 March 2015:
“My translation into a three-dimensional ceramic object continues the core narrative of the resampling of the environment and the suggested ownership of a natural object. I constructed a chalice-like ceramic vessel and fired it using combustive fuel harvested from the seashore, which leaves a carbon imprint on the body of the ceramic. Within the temple-like structure of the kiln I attempted a reprocessing of materials abundant within the seascape of my hometown Folkestone.” http://mattroweportfolio.co.uk
Read more about (c) Matt Rowe, no title, translation of Briony's image, 6-13 May 2015:
"Still immediately reminded me of a book I’d recently read discussing connections (and tensions) between the natural and digital worlds. These ideas provided the basis of my understanding, deciphering and transformation of the poem. The ‘translation’ process was initiated by converting ‘Still’ into computer binary code. Adapting the outcome I endeavoured to capture the essence of ‘Still’ in a single image. I am neutral and non-attached as to the success of this process and wish my fellow artists an interesting and rewarding match." www.samtreadaway.com
Read more about (c) Sam Treadaway, 'Techno-Techno-Techno-Techno', translation of 'Still', 4-11 March 2015:
"Although I have stayed close, in compositional respects to Bryan's work, there is a gap through which something other has slipped in. I looked intensely at Bryan’s image, wanting mine to enable me to conjure the ghost of his. I assembled my visual signs – techniques, symbols and material processes that are my own native creative language - and started making actual objects and photographing them, then created a digital collage from these. On my computer, Bryan’s image had a blue cast, which is reflected in my translation.” www.sarahsparkes.com
Read more about (c) Sarah Sparkes, 'Gap between the nothing', translation of Bryan's image, 1-8 April 2015:
Sharon's full translation of Sarah's work is a short animation, which traces the journey into the mirror and back. “I live in two languages, haunted by a third. There is constant movement as a word thought in one language passes into a spoken word in another. This happens in the life between one image (another’s) and another (mine). An image, precisely thought, is – and passes through – a mirror. This is quite a literal translation of the image that preceded it (the gap or void, the blue cast that is taken from the image before, the decorative detail that might be supposed to be feminine). It is impossible to keep completely still, even when caught or fixed.” www.sharonkivland.com
Read more about (c) Sharon Kivland, no title, translation of Sarah's image, 8-15 April 2015:
Visual Representation: The Portus Project has explored the creation of alternative methods for representing interpretations of the site, and the methods employed on the project, and for delivering these online, in exhibitions, publications and on site. This has included the production of computer graphic models, and also collaboration with professional photographers and with artists. For example, Rose Ferraby produced a series of screen prints reflecting archaeological processes such as geophysics and aerial photography in use at Portus. We have also looked at early plans of the site, including that of Rodolfo Lanciani and Italo Gismondi, and are currently examining contemporary Roman representations of the port, in particular the reverse of a sestertius of AD 112-114 showing the Trajanic basin and surrounding buildings., with Bernard Woytek (Institut für Kulturgeschichte der Antike der Österreichischen Akademie der Wissenschaften).
Read more about (Image: Grant Cox/ Portus Project)
Data Capture: The Portus Project has worked with technology consultants and researchers to develop and evaluate various methods for capturing archaeological data. These include methods for recording buildings such as laser scanning and gigapixel imaging, and objects, including photogrammetry and Reflectance Transformation Imaging (RTI). We have also experimented with novel capture tools such as Microsoft Kinect and wearable cameras like Looxcie and GoPro as a way of enhancing information exchange and student involvement in the research process.
Read more about (Image: James Miles/ Portus Project)
Data Analysis and Presentation: Computer techniques have been used to inform our interpretative processes in many ways. For example, during the excavations of Building 5, a large structure of Trajanic date built for ship construction or repair, we began by integrating 3D geophysical data with that from excavation and laser scanning. This provided us with a framework upon which to build computer structural models so that we could test likely building forms. This in turn enabled us to better understand the building that we are studying and identify likely architectural comparanda. Furthermore we have undertaken the procedural simulation of this and other buildings, which have then been used to provoke discussions with colleagues about the possible uses and functions. A number of possible interpretations were then worked up by a 3D computer graphic artist. Portus has in turn been able to train students crossing these disciplinary boundaries.
Read more about (James Miles/Matthew HarrisonGrant Cox/Portus Project)
International Conscientious Objectors Day is marked around the world each year on May 15th. In July 2011 the European Court of Human Rights ruled that ‘states must respect the right to conscientious objection as part of their obligation to respect the right to freedom of thought, conscience and religion', bringing European law in line with international human rights standards
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