This ‘Gallery-in-a-Book’ blog is part of the Liquid Reader project put together by Joanna Zylinska together with her students on the MA Digital Media at Goldsmiths, University of London.


This project challenges the one-way, closed form of knowledge transfer in university education that is encompassed by the static, photocopiable ‘course reading pack’ - typically designed by course leaders and handed out to students. It engages media students in a dynamic process of devising instead a fluid, open-access, online ‘reader’, whose content and form are being negotiated, updated and altered by students themselves, under the guidance of the course leader. Using the freely available media platforms (online archives, educational wikis, YouTube, Blogger), students are able to both link to the already available textual and audio-visual material (essays, books, video clips) and upload their own documents and designs. They are thus actively involved in producing a ‘liquid reader’ - an innovative, student-centred, customisable learning tool which involves them in curriculum design. Via an involvement with the Open Humanities Press, and its Culture Machine Liquid Books Series, the project promotes the socially significant ‘open scholarship’ and ‘open learning’ under the open access agenda.

Take a look at the current incarnation of the Liquid Reader and find out more about the project by clicking here, or by following this link:


At the beginning of our second core course on the MA Digital Media, called Technology and Cultural Form, students were asked to work on a series of photographs. We agreed that the photographs could be taken with a mobile phone camera, a fancy DSLR, a film camera or any other image capturing device. The only rule was that they had to be somehow related to one another (via content, form, method, etc.). This online gallery available here thus becomes part of the ‘liquid reader’ we’ve been working on. This obviously raises some interesting questions: Can a book ‘contain’ an art gallery? Is everyone an artist and a media producer today? What would Barthes and Foucault say?

Tuesday, 23 March 2010

Natalia Urazmetova


I chose the 'freeze frame' as a method for producing this series of images. Its source of inspiration lies in the debate on photography and cinema. The images are stills from the video I recently shot. The idea of transience/disappearance versus the impulse against stability/stasis becomes central to them. Taking into the account the 'Performing Philosophy' framework, I attempted to visualize Deleuze's idea of the void, or interstice, that emerges in the context of his Time-Image conception: a suspended position of intellectual opportunity and potential, a position within a spatial gap where the interval offers us the ‘insight of blindness’, where thought becomes the exteriorization of expression. The idea of stillness becomes a starting point for the consideration of the multiple temporalities that arise at the intersection of still and moving image. The aim here is to create a pause for thought about suspended moments of transition. Taking into account the fact that visuals operate rather indirectly and metaphorically, this series is nevertheless an invitation on my part to reflect on the generative and irresolvable encounter between stasis and motion.

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