# data[].attributes.body
My compendium acted as my initial contextual research base for unit 9, I then used the compendium and archive in conjunction with one another for my research.

# data[].attributes.body
https://artslondon-my.sharepoint.com/:b:/g/personal/l_daley0320191_arts_ac_uk/EdP2oSMNiPJMjisMQI0cSvIBZh34SVSHmKZKR20LyvOYmg?e=4YjH0H

# data[].attributes.body
https://artslondon-my.sharepoint.com/:b:/g/personal/l_daley0320191_arts_ac_uk/Eaevh94P_DVJl_2DgvIz2bYBba61i2OdA0zGpoWJiM9jHQ?e=tCTDcn

# data[].attributes.body
BOOKS

Adam, H., 2014. Eadweard Muybridge, the Human and Animal Locomotion. Cologne: Taschen.

Augé, M., 1992. Non Places an Introduction to Supermodernity. Verso Books.

Calle, S., 2012. The Address Book. Siglio Press.

Certeau, M. and Rendall, S., 2011. The practice of everyday life. Berkeley, Calif.: University of California Press.

Stark, K., 2016. When Strangers Meet. HOW THE PEOPLE THAT YOU DON'T KNOW CAN TRANSFORM YOU.. Simon & Schuster.

WEBSITES

'Reportager' : Reportager award : Research Group and Programme at the School of Creative Arts, University of the West of England (2022). Available at: http://reportager.uwe.ac.uk/award.htm (Accessed: 15 January 2022).

'Reportager' : Reportager award : Research Group and Programme at the School of Creative Arts, University of the West of England (2022). Available at: http://reportager.uwe.ac.uk/award.htm (Accessed: 15 January 2022).

(2021) Nptel.ac.in. Available at: https://nptel.ac.in/content/storage2/courses/109103023/download/Lecture%203.pdf (Accessed: 14 October 2021).

(2021) Nptel.ac.in. Available at: https://nptel.ac.in/content/storage2/courses/109103023download/Lecture%203.pdf (Accessed: 14 October 2021).

(2022) Nptel.ac.in. Available at: https://nptel.ac.in/content/storage2/courses/109103023/download/Lecture%203.pdf (Accessed: Accessed: 14 October 2021).

Allan Kaprow, art was like the weather | Le Bastart (2017). Available at: http://lebastart.com/en/2017/10/allan-kaprow-art-like-weather/ (Accessed: 15 November 2021).

Allan Kaprow. Comfort Zones (2021). Available at: https://issuu.com/ca2m/docs/catalogo_allan_kaprow_web/1?ff&e=8774396/51507904 (Accessed: 15 November 2021).

Available at: https://www.bagtazocollection.com/blog/2016/1/25/design-design-designstudy-wassily-kandinsky (Accessed: 15 November 2021).

Available at: https://www.bagtazocollection.com/blog/2016/1/25/design-design-designstudy-wassily-kandinsky (Accessed: 28 October 2021).

Carnegie, J. (2019) Why don't we talk to each other anymore?, Calm Moment. Available at: https://www.calmmoment.com/wellbeing/why-dont-we-talk-to-each-other-anymore/ (Accessed: 31 January 2022).

Basics of Identity (2022). Available at: https://www.psychologytoday.com/gb/blog/science-choice/201412/basics-identity (Accessed: 31 January 2022).

Behance (2022). Available at: https://www.behance.net/gallery/13330655/RE4-Fanzine (Accessed: 28 January 2022).

Behance (2022). Available at: https://www.behance.net/gallery/16861787/Spare-Change-News (Accessed: 28 January 2022).

Bennet Omalu Quotes (2021). Available at: https://www.brainyquote.com/quotes/bennet_omalu_756470 (Accessed: 17 October 2021).

Bingo, M. (2022) Work | , Mr.bingo. Available at: https://mr.bingo/work/ (Accessed: 25 January 2022).

Bob Mazzer || Howard | Griffin | Gallery (2022). Available at: http://howardgriffingallery.com/artists/bob-mazzer (Accessed: 13 October 2021).

DEPARTURE — otama-works (2021). Available at: https://otama-ki.com/DEPARTURE (Accessed: 15 November 2021).

DESIGN STUDY: WASILLY KANDINSKY & MINIMIZING SUBJECT MATTER - Bagtazo (2021).

DESIGN STUDY: WASILLY KANDINSKY & MINIMIZING SUBJECT MATTER - Bagtazo (2021).

Eadweard Muybridge | Biography, Photography, Inventions, Zoopraxiscope, & Facts (2022). Available at: https://www.britannica.com/biography/Eadweard-Muybridge (Accessed: 15 January 2022).

Eadweard Muybridge – Exhibition at Tate Britain | Tate (2022). Available at: https://www.tate.org.uk/whats-on/tate-britain/exhibition/eadweard-muybridge (Accessed: 15 January 2022).

Emerging Trends in Psychology: Technology Dependence | CSP Online (2020). Available at: https://online.csp.edu/resources/article/technology-dependency/ (Accessed: 31 January 2022).

FAQ: How Did Language Begin? | Linguistic Society of America (2022). Available at: https://www.linguisticsociety.org/resource/faq-how-did-language-begin (Accessed:  14 October 2021).

FAQ: How Did Language Begin? | Linguistic Society of America (2022). Available at: https://www.linguisticsociety.org/resource/faq-how-did-language-begin (Accessed:  14 October 2021).

I See You: Do Surveillance Cameras Change People's Behavior? (2020). Available at: https://

Individual & Society (2021). Available at: https://www.facinghistory.org/holocaust-and-human-behavior/chapter-1/introduction (Accessed: 17 October 2021).

Is Society Too Dependent On Technology? 10 Shocking Facts (2020). Available at: https://www.uopeople.edu/blog/society-too-dependent-on-technology-2/ (Accessed: 31 January 2022).

Laura Asmus - Gute Nacht - étapes: (2016). Available at: https://etapes.com/laura-asmus-gute-nacht/ (Accessed: 28 January 2022).

Matter, N. (2022) Non Stop Poetry: The Zines of Mark Gonzales - Publication Release and Signing! - Printed Matter, Printed Matter. Available at: https://www.printedmatter.org/programs/events/242 (Accessed: 28 January 2022).

Miller, N. (2016) Following Sophie Calle, Hyperallergic. Available at: https://hyperallergic.com/305869/following-sophie-calle/ (Accessed: 15 November 2021).

Miller, N. (2016) Following Sophie Calle, Hyperallergic. Available at: https://hyperallergic.com/305869/following-sophie-calle/ (Accessed: 25 January 2022).

MoMA | Marina Abramović. The Artist Is Present. 2010 (2021). Available at: https://www.moma.org/learn/moma_learning/marina-abramovic-marina-abramovic-the-artist-is-present-2010/ (Accessed: 4 October 2021).

Nast, C. (2021) Sophie Calle and the Art of Leaving a Trace, The New Yorker. Available at: https://www.newyorker.com/books/under-review/sophie-calle-and-the-art-of-leaving-a-trace (Accessed: 9 November 2021).

nationalinterest.org/blog/buzz/i-see-you-do-surveillance-cameras-change-peoples-behavior-127762 (Accessed: 15 November 2021).

Non-Place vs. Place (2022). Available at: https://www.brown.edu/Departments/Joukowsky_Institute/courses/archaeologiesofplace/7999.html (Accessed: 19 November 2021).

non-place (2022). Available at: https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100237780 (Accessed: 19 November 2021).

Print Social (2022). Available at: https://www.weareprintsocial.com/ (Accessed: 29 January 2022).

Print Social (2022). Available at: https://www.weareprintsocial.com/campaigns/print-social-x-lucy-daley (Accessed: 29 January 2022).

Rachel Gannon (2022). Available at: https://www.rachelgannon.co.uk/ (Accessed: 15 January 2022).

Rehman, A. (2020)

Reportage - Tom Good Illustration (2022). Available at: http://cargocollective.com/tomgood/Reportage (Accessed: 15 January 2022).

Rirkrit Tiravanija. untitled (free/still). 1992/1995/2007/2011- | MoMA (2021). Available at: https://

Russeth, A. (2012) A Trend? Archery in Art, Observer. Available at: https://observer.com/2012/03/a-trend-archery-in-art/#slide1 (Accessed: 17 October 2021).

Sense of Self: What It Is and How to Build It (2022). Available at: https://www.healthline.com/health/sense-of-self (Accessed: 31 January 2022).

Spare Change News (2022). Available at: http://sparechangenews.net/ (Accessed: 28 January 2022).

The Guggenheim Museums and Foundation (2021). Available at: https://www.guggenheim.org/artwork/artist/rirkrit-tiravanija (Accessed: 15 November 2021).

The Guggenheim Museums and Foundation (2021). Available at: https://www.guggenheim.org/artwork/artist/sophie-calle (Accessed: 4 October 2021).

The Neuroscience of Identity (2022). Available at: https://www.psychologytoday.com/us/blog/conversational-intelligence/201907/the-neuroscience-identity (Accessed: 31 January 2022).

THE POWER OF CONNECTING WITH A STRANGER (2021). Available at: https://thriveglobal.com/stories/the-power-of-connecting-with-a-stranger/ (Accessed: 18 October 2021).

The shadow | Sophie CALLE (1981) | PERROTIN (2022). Available at: https://www.perrotin.com/artists/Sophie_Calle/1/the-shadow/6687 (Accessed: 29 January 2022).

Understanding Social Interaction | Boundless Sociology (2022). Available at: https://courses.lumenlearning.com/boundless-sociology/chapter/understanding-social-interaction/ (Accessed: 14 October 2021).

Utopiaggia – zwischen Utopie und Realität (2022). Available at: https://www.designmadeingermany.de/2016/106485/ (Accessed: 28 January 2022).

What is Collective Grief? - Grief Recovery Center, Grief Recovery Center. Available at: https://www.griefrecoveryhouston.com/what-is-collective-grief/ (Accessed: 17 October 2021).

When Did We Stop Talking to Each Other? (2022). Available at: https://www.psychologytoday.com/gb/blog/the-path-passionate-happiness/201802/when-did-we-stop-talking-each-other (Accessed: 31 January 2022).

Why Being Social is Good for You (2021). Available at: https://www.southuniversity.edu/news-and-blogs/2018/05/why-being-social-is-good-for-you (Accessed: 17 October 2021).

Why Identity Matters - Critical Media Project (2022). Available at: https://criticalmediaproject.org/why-identity-matters/ (Accessed: 31 January 2022).

why is identity important in society - Lisbdnet.com (2022). Available at: https://lisbdnet.com/why-is-identity-important-in-society/#:~:text=in%20modern%20society%3F-,Social%20identity%20allows%20people%20to%20be%20part%20of%20groups%20and,how%20they%20interact%20with%20others. (Accessed: 31 January 2022).

www.moma.org/collection/works/147206 (Accessed: 15 November 2021).

‘The Hotel, Room 28’, Sophie Calle, 1981 | Tate (2021). Available at: https://www.tate.org.uk/art/artworks/calle-the-hotel-room-28-p78301 (Accessed: 15 November 2021).

‘The Hotel, Room 47’, Sophie Calle, 1981 | Tate (2022). Available at: https://www.tate.org.uk/art/artworks/calle-the-hotel-room-47-p78300 (Accessed: 9 November 2021).

ARTICLES

Artist Explores Connections with Strangers in New Public Art Project (2021). Available at: https://www.dnainfo.com/new-york/20110928/murray-hill-gramercy/artist-explores-connections-with-strangers-new-public-art-project/ (Accessed: 4 October 2021).

Betrayal and grief: Young people suffering from climate anxiety demand action (2021). Available at: https://www.france24.com/en/environment/20211022-grief-and-hopelessness-young-people-suffering-from-climate-eco-anxiety-demand-action (Accessed: 27 January 2022).

Climate change anxiety: Young people 'feel hopeless' (2022). Available at: https://www.bbc.co.uk/news/uk-wales-57555760 (Accessed: 27 January 2022).

Climate change: 75% of young people say ‘the future is frightening’ (2022). Available at: https://www.medicalnewstoday.com/articles/eco-anxiety-75-of-young-people-say-the-future-is-frightening (Accessed: 27 January 2022).

Climate change: Are you suffering from ‘eco-anxiety’? - BBC Three (2019). Available at: https://www.bbc.co.uk/bbcthree/article/b2e7ee32-ad28-4ec4-89aa-a8b8c98f95a5 (Accessed: 27 January 2022).

Climate change: Young people very worried - survey (2022). Available at: https://www.bbc.co.uk/news/world-58549373 (Accessed: 27 January 2022).

Confronting a Stranger, for Art (Published 2010) (2010). Available at: https://www.nytimes.com/2010/04/04/nyregion/04about.html (Accessed: 4 October 2021).

FAQ: How Did Language Begin? | Linguistic Society of America (2021). Available at: https://

How Awe Brings People Together (2021). Available at: https://greatergood.berkeley.edu/article/item/how_awe_brings_people_together (Accessed: 17 October 2021).

I have felt hopelessness over climate change. Here is how we move past the immense grief | Rob Law (2019). Available at: https://www.theguardian.com/commentisfree/2019/may/09/i-have-felt-hopelessness-over-climate-change-here-is-how-we-move-past-the-immense-grief (Accessed: 27 January 2022).

Indrisek, S. (2017) Christian Falsnaes Wants You to Slow Dance with a Stranger, Artsy. Available at: https://www.artsy.net/article/artsy-editorial-christian-falsnaes-slow-dance-stranger (Accessed: 4 October 2021).

It's the future, everyone's famous: From the A-List to the "Z-List," fame isn't what it used to be (2016). Available at: https://www.salon.com/2016/09/06/its-the-future-everyones-famous-from-the-a-list-to-the-z-list-fame-isnt-what-it-used-to-be/ (Accessed: 25 January 2022).

Kasriel, E. (2021) The surprising benefits of talking to strangers, Bbc.com. Available at: https://www.bbc.com/future/article/20200914-the-surprising-benefits-of-talking-to-strangers(Accessed: 4 October 2021).

Lufkin, B. (2022) Why do we buy into the 'cult' of overwork?, Bbc.com. Available at: https://www.bbc.com/worklife/article/20210507-why-we-glorify-the-cult-of-burnout-and-overwork (Accessed: 25 January 2022).

Nast, C. (2021) On the Internet, We’re Always Famous, The New Yorker. Available at: https://www.newyorker.com/news/essay/on-the-internet-were-always-famous (Accessed: 25 January 2022).

Nast, C. (2021) The Frustration with Productivity Culture, The New Yorker. Available at: https://www.newyorker.com/culture/office-space/the-frustration-with-productivity-culture (Accessed: 25 January 2022).

Ro, C. (2022) How overwork is literally killing us, Bbc.com. Available at: https://www.bbc.com/worklife/article/20210518-how-overwork-is-literally-killing-us (Accessed: 25 January 2022).

Schwartz, M. (2015) Intrusive, Invasive, Inquisitive Calle, The New York Review of Books. Available at: https://www.nybooks.com/daily/2015/11/01/sophie-calle/ (Accessed: 4 October 2021).

The eyes have it: how staring at strangers became a global movement (2017). Available at: https://www.theguardian.com/culture/2017/jan/10/the-eyes-have-it-how-staring-at-strangers-became-a-global-movement (Accessed: 4 October 2021).

www.linguisticsociety.org/resource/faq-how-did-language-begin (Accessed: 14 October 2021).

YOU ARE NOT GOING TO BE FAMOUS (2009). Available at: https://nypost.com/2009/07/25/you-are-not-going-to-be-famous/ (Accessed: 25 January 2022).

VIDEO CLIPS

(2021) Bilibili.com. Available at: https://www.bilibili.com/video/BV1ax411Y7MJ?p=1&share_medium=iphone&share_plat=ios&share_session_id=3FD76ECA-088F-46FE-AB66-

(2021) Youtube.com. Available at: https://www.youtube.com/watch?v=0xRx2s3FpSg (Accessed: 28 October 2021).

(2021) Youtube.com. Available at: https://www.youtube.com/watch?v=dGiQaabX3_o (Accessed: 17 October 2021).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=12q3WcTJYgM (Accessed: 29 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=2KnnGeNrvdE (Accessed:29 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=4jwUXV4QaTw (Accessed: 29 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=6_SUFvY80G4 (Accessed: 29 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=_EtqNzjgPVU (Accessed: 25 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=D1rivX0hi2w (Accessed: 25 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=EjT3emte-CM&t=311s (Accessed: 29 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=gaLDQ_hfBEo (Accessed: 25 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=heRuLp7CyTM (Accessed: 25 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=heRuLp7CyTM (Accessed: 29 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=hKdf-mkKjNU (Accessed: 29 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=oGRTEjTzgBc (Accessed: 25 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=oGRTEjTzgBc (Accessed: 29 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=qRvfLlP1tUA&t=638s (Accessed: 29 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=V5yLOcp-azI (Accessed: 29 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=x18coCR6Xsc (Accessed: 29 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=YBj5hCa3F60 (Accessed: 25 January 2022).

(2022) Youtube.com. Available at: https://www.youtube.com/watch?v=YBj5hCa3F60 (Accessed: 29 January 2022).

B407F8551CF0&share_source=COPY&share_tag=s_i&timestamp=1636466312&unique_k=VY8R1X (Accessed: 15 November 2021).

EarthCam - Webcam Network (2022). Available at: https://www.earthcam.com/ (Accessed: 25 January 2022).

LIVE NOW! Abbey Road Cam (2022). Available at: https://www.earthcam.com/world/england/london/abbeyroad/?cam=abbeyroad_uk (Accessed: 25 January 2022).

London live streaming video webcams portal live london cams (2022). Available at: https://www.mylivestreams.com/webcams/london-live-streaming-cameras/10296.html (Accessed: 25 January 2022).

London Traffic Cameras - Live TfL JamCam Feeds (2022). Available at: https://www.tfljamcams.net/ (Accessed: 25 January 2022).

Rachel Gannon (2022). Available at: https://vimeo.com/194254563 (Accessed: 29 January 2022).

IMAGES

Ambramovic, M., 1980. Rest Energy.. [Photography].

Calle, S., 1981. The Shadow. [Photograph].

Hoque, M., 2012. Lost In Movement. [Photography].

Kaprow, A., 1975. Comfort Zone. [Photography].

Mazzer, B., 1980. Waterloo and City line. [Photograph].

Mei, G., 2021. Images of protests.. [image] Available at: <37 Inspiring Photos of Women Protesting for Equal Rights (2017). Available at: https://www.cosmopolitan.com/politics/g8609676/inspiring-photos-women-protesting/ (Accessed: 17 October 2021).> [Accessed 17 October 2021].

Schaller, A., 2015. Held at a red signal. [Photography].

Short, N. and Maclean, H., 2021. [image] Available at: <Public mourning: a brief history (2014). Available at: https://theconversation.com/public-mourning-a-brief-history-35670 (Accessed: 17 October 2021).\> [Accessed 17 October 2021].

LECTURES

(2021) Nptel.ac.in. Available at: https://nptel.ac.in/content/storage2/courses/109103023/download/Lecture%203.pdf(Accessed: 14 October 2021).

Understanding Social Interaction | Boundless Sociology (2021). Available at: https://courses.lumenlearning.com/boundless-sociology/chapter/understanding-social-interaction/ (Accessed: 14 October 2021)

# data[].attributes.body
For my ips project, I want to heavily draw from the knowledge I've gained in this unit and then circle back to one of the aims I had for unit 9 which was to "explore how illustration can be used as a catalyst for interaction amongst strangers" because early in my unit 9 enquiry I realised I would have to gather and understand a lot more of what why and how strangers interact and behave before I could start trying to create moments of interaction myself. I would still like to remain playful so I want to perhaps create a set of experiments that are designed based on my unit 9 research to bring people together and then use the most successful ones and pursue it further.

# data[].attributes.body
My work evolved heavily from the start of the unit until now and my opinions and discoveries about the way strangers behave and interact have changed. I came to realise that there are a lot more societal factors that influence the way that people behave than I had first assumed, gender, race, religion, sexuality, identity, time, technology and more all have a bearing on how and why people interact with one another in the way that they do. I also grew to appreciate the absence of interaction also as this is often just as poetic. I feel that my work is most effective when viewed together as a body of work, it provides a transdisciplinary account of my unit 9 enquiry. The viewer is bombarded from all angles with information, resulting in an immersive account of my own journey through unit 9 as well as the journeys of all the strangers I've observed on the way.

# data[].attributes.body
My journey through unit 9 has been exciting and largely transformative, it gave me ample opportunity to be critical and reflect on my work whilst also growing my confidence in being a self-led practitioner. I think I've grown in terms of being more independent and self-motivated as well as becoming more process-driven as over the course of the unit I became less excited about the outcomes of my work and more excited by the process of making, discovering and learning. I also enjoyed exploring illustration as a research tool as this is something I had never really considered before, I had always viewed illustration as only a tool of communication rather than of discovery, where now I see how using it in both facets would be beneficial to me as a practitioner.

# data[].attributes.body
Following all the work I produced in this unit so far I began to consider how I could construct the narrative of my enquiry into a tangible outcome with a coherent story. I decided to make a film for the CPP as the format is more applicable to the various formats of work I've been exploring through unit 9 as well as being more dynamic visually which I think aligns with the concept I've been researching as looking at static images when describing something which is so firmly based in the movement wouldn't translate as well.

I wanted my voice as a practitioner to come through as this unit has been explored so personally, a large portion of the research I have done is primary therefore my realisations will be a feature of the CPP

# data[].attributes.body
I did some more research into practitioners who work with animation, particularly papercut animation as I felt it could relate to the paper model I made in the experiments with drawing workshop but found that this deviated too much from the body of reportage work I had been producing and didn't align with the concept of non-place, in letting the figures and information speak for its self. although this is something I would like to explore in the future.

# data[].attributes.body
In a tutorial I shared how I was struggling a little with using the same raw material over and over again, it was then suggested that I look into using CCTV and surveillance as my raw material as it would allow me to work from a fly on the wall perspective.
I found that there are many CCTV live streams that are available to the public, I then started using these to draw from and observe, continuing to write and animate.

I found that using CCTV was useful when looking at the way people occupy space but I felt it was too removed for me to properly analyse the behaviours and interactions of people so I went back to sourcing more raw material first hand by filming, recording, writing and drawing in public spaces.

# data[].attributes.body
Working from the videos I took earlier in my enquiry I created a series of frame by frame gifs that show moments of significance from my journeys across the underground. I chose moments that highlighted the vulnerabilities of people when people were alone or struggling with a bag etc. I also liked animating a group of strangers moving around one another, it allowed me to see how they behave and interact, so timid. Similarly to my location drawings I left much of the background empty as I wanted to build on the concept of non-place and allow the behaviours of the people to imply the context.

# data[].attributes.body
When recording the videos and watching them back in order to annotate them I had a moment of realisation, Sound.
The sound from my recordings is so evocative of the place, it immediately puts you back into the moment it was recorded. So the explore this more I took various recordings of public places where people would pass through, mainly the underground, the bus and the train station from my window. I found this moment very exciting and began to think of how i could layer sound with image and turned to animation. Developing from my research into Muybridge in my compendium I began considering the application of my location drawings, videos and sound into a frame by frame animations to better capture the real-life moments they're based on.

# data[].attributes.body
To gather more raw information for me to work from I decided to expand on my photography work and take some videos. I rode the tube up and down continuously and recorded as i went, i wandered through the stations to see what would happen and who i would encounter. Once i got home a reviewed the videos i was able to watch a review and edit and zoom in. It was so exciting being able to play back small moments which i may have not even noticed if i was trying to draw on location. I then broke the videos into smaller screen grabs and zoomed in sections, then i annotated them, analysing the way that people move and hold themselves.

# data[].attributes.body
In one of my tutorials, it was suggested that i look into reportage in illustration, after some research it occurred to me that this is what i had been doing through this unit, i had been recording information through drawing and writing. This was a turning point for my process as now my work felt more valid, i now understood what i was doing, i was using illustration as a tool to investigate the behaviours of strangers. Before this i was getting slightly concerned that all of my outcomes were so fast paced and lacked depth but since using text and image together and looking into the work of Rachel Gannon and Tom Good i felt more confident in presenting my work as a body of work, each drawing is only a fragment of the whole story of my enquiry.

# data[].attributes.body
I wanted to briefly experiment with the layering of text and image as i wanted my work to paint a richer picture than i was able to capture through showing one research method at a time. I think it worked very successfully and has encouraged me to explore this more as i like how they fill in the gaps for each other, what the image doesn't tell you the writing does and vice versa.

# data[].attributes.body
developing on from the 'Drawing with text' and 'the hundreds' workshops I wanted to explore capturing the public through writing, I would take a note pad on the tube to uni with me and write down observations of what I would see. Sometimes I would select a person and write as much detail about them as I could, treating the text like a drawing, and other times I would simply write whatever I saw whenever I saw it. Most of the notes came out quite nonsensical, rambling. I feel that some of the writing is more indicative of myself than it is of others, it almost allows me to playback my inner monologue as I see the scene play out.
After this I went back to observing from my window and used my voice to write, I felt that this would be more spontaneous than physically writing as it's so much faster. Again the results of this were quite strange to read back but also interesting and matter of fact.
On its own, I think the writing I explored shows a fragmented version of events so it made me consider exploring the use f layering research methods together.

# data[].attributes.body
After working from my photos for a while I wanted to go and experience more things first hand and allow this to guide my investigation. So I went location drawing, I rode the tube up and down and made small, quick observational studies, I treated it like taking notes as it allowed me to jot down what was happening as it was happening. I focused largely on hand gestures, the way people hold themselves and other 'unconscious' behaviours as I wanted to focus on people when they weren't aware they were being watched. moments of vulnerability.

# data[].attributes.body
To develop from my photographs i took i looked into

Wasilly Kandinsky's study into minimising subject matter, which takes images and breaks them down in simple forms, shapes and blocks in order to understand them better and easier.

I took my photos and printed some, then over laid them with tracing paper and traced out the main forms i saw, it allowed me to see the way people hold them selves and the way they move around one another without getting distracted by the details of the images, i quite liked this idea of zooming in on one feature of the image or of real life and then examining it in detail.

I then imported the photos to photoshop and traced over the forms, focussing this time on mainly how people congregate as i found it particularly interesting looking into how people take up space.

# data[].attributes.body
Inspired by Calle's work i wanted to start gathering a body of research to explore in more detail and because of the nature of my topic it isn't really something which i can research and witness from home. Because of this i decided to experiment with photography. I made an effort to take my camera out and about with me as many places as i would go. I wasn't precious about the photos i took because i didn't want to see an edited or censored version of the places i had been i wanted to see them in all their detail and honesty.
When i looked back on the photos when i got home i was so excited by their outcome, it made me realise that even when taking them i wasn't fully aware of my surroundings, i was on auto pilot rather than fully taking in where i was and who was around me so it was interesting to have a physical reminder that i was able to look at and examine in full detail.

# data[].attributes.body
From my discussions in my tutorials I have more of a direction towards exploring the use of illustration as a tool for research as i will need to have an understanding of what it is i'm investigating in this nit and unit 10, in order to build up a body of work.

I looked deeper into the work of Sophie Calle, though most of Calle's work she explores primary research through the use of photography and text, she also gathers information by witnessing it first hand.

One of Calle's most notable pieces: "shadow" is particularly playful with the way that information is documented as in the work Calle is being followed and photographed by a private investigator while she is also following and recording the private investigator, therefore showing the playful two way stalking the pair engaged in.

In terms of my work i would like to draw from Calle's practice and explore the fundamentals of people identity and find out how people behave and what makes interactions with strangers so special before exploring using illustration as a cataylist for interaction.

# data[].attributes.body
This workshop really helped me in terms of practically drawing and generating images, It allowed me to draw while thinking about the physicality of space and place which is very important to my topic of choice as I want to explore the significance of the way that people take up space.

# data[].attributes.body
For my method illustration task I wanted to experience other peoples lives first hand and gain a better understanding of my topic and initial interest. I walked around my local high street and would sit on pubic benches and observe he way people walk around and interact around me, after this I started considering other places where people congregate, so I started doing similar things on public transport, I watched people from my window and would ride the tube up and down and watch people.
From this I had more questions than I had when I first started the unit.
Why do people interact with strangers?
Why don't people interact with strangers?
Where do peoples lives intersect?
What is the significance of interactions with strangers?

# data[].attributes.body
Koch's work usually surrounds themes of people, behaviour, inner thoughts and anxieties. Their work is usually written in a comic format, which introduces narrative.

# data[].attributes.body
Bramely creates traditional illustrations all based around daily rituals and behaviours, primarily those that we do alone, moments of meditation and significance in normal mundane life.

# data[].attributes.body
Ambramovic works with performance and concept similarly to how Kaprow does. her work often explores relationships and human nature and behaviour, why we act the way we do and what can alter it. Her work is very poetic and abstract

# data[].attributes.body
Calle's work is very interesting to me as she works primarily with photos and text but the way she goes about getting her images is very bold. she crosses boundaries of private and public and explores identity, both that we portray to others and the identity that we keep hidden.
I particularly enjoy how she records information through image .

# data[].attributes.body
Kaprow works with performance and text, his work is very conceptual and abstract. Kaprow works with instruction and experiments as is shown in his book 'Comfort Zone'. I found his work very interesting as it is encouraging interactions between strangers based off of observations between strangers.

# data[].attributes.body
Mazzer's work, particularly on the underground, is quite interesting to me as its a place that i experience often on a day to day basis and so do thousands of other people from all walks of life. Mazzer's work was recorded in the 80s, the difference between then and now is fascinating. I also like how Mazzer's work is uncensored, it is what it is. Genuine.

# data[].attributes.body
To begin my investigation I started looking into various practitioners who create work surrounding themes of mundanity, everyday life, day to day rituals, relationships, people etc.

# data[].attributes.body
https://youtu.be/VJ2CxkaiyR4

# data[].attributes.body
https://youtu.be/7GpfYwpCeZc

# data[].attributes.body
https://youtu.be/wyv5MoFlot8

# data[].attributes.body
https://youtu.be/CAMLnR8BDkI

# data[].attributes.body
https://youtu.be/u738DrPHzdM

# data[].attributes.body
https://youtu.be/_jPd3I50fjA

# data[].attributes.body
https://youtu.be/VyZhzfjI-Xs

# data[].attributes.body
https://youtu.be/vDZ0TmHgfl4

# data[].attributes.body
https://youtu.be/RWy0ycMUSA4

# data[].attributes.body
https://youtu.be/2J3TqJWEep0

# data[].attributes.body
https://youtu.be/w0aF5yl6BLA

# data[].attributes.body
https://youtu.be/98CNrf4zFN4

# data[].attributes.body
https://youtu.be/AKIQHD2KahI

# data[].attributes.body
The work in progress show theme was 'Get Out The Bin' which was focused on celebrating our failures from our third year and general university experience. I wanted my work to demonstrate the frustration I would feel through this unit as although I put in a lot of hard work I still felt that I wasn't getting the outcomes that I had hoped for, in both quantity and quality. I designed a frame which would house a reem of paper, the paper would be layer upon layer pf location drawing as this would also demonstrate how I would draw the same thing over and over again and come away not learning anything new.
I wasn't entirely happy with my piece but I feel that this made it even more fitting for the show.

# data[].attributes.body
My submission was successful and has been accepted and featured in a campaign on the print social website until the 8th of February. I found this experience very interesting n terms of working with clients and giving me a taste of a post university career.

# data[].attributes.body
for the external project we had a choice of many briefs, I chose the print social brief where we had to design a t-shirt to inspire change in regards to Cop26.
although the topic isn't directly related to my primary enquiry I still wanted to think about everyday people and draw my inspiration from them so I researched the common attitudes toward the climate change movement and found out that a lot of people feel out of control in terms of the fate of the planet as the issue seems so enormous and it doesn't feel that any of the small changes we are encourages to make actually make a difference in the long run. I, therefore, wanted my design to reflect the relationship between the everyman and nature and highlight the strength in being active the power of autonomy and how small changes can have big impacts.

Our designs were limited to three colours so I chose three different tones of green as they are aesthetically pleasing and have direct connotations of sustainability. I chose to add a caption to my design to make the message more impactful.

# data[].attributes.body
Thinking in terms of the wider context, and applying my work to the real world I see potential in exploring reportage more and working as an investigator and an illustrator, as well as furthering my skills in animation and documentary drawing. I’m interested in the potential of exploring a postgraduate qualification at some point in the future but due to the financial burden of this, I would like to gain more industry experience before this in hopes of finding the avenue I would like to pursue in my working career. In unit 10 I’m excited to utilise the techniques of gathering information and my new approach to the process that I’ve developed. I am keen to remain playful and exploratory within my work and want to integrate my work with the audience and in some facet allow the audience to directly interact with the work as explored in the interactive illustration workshop I attended during this enquiry. I would like to explore how I can use illustration as a catalyst for interaction. I also would like to explore the potential of starting my own zine or publication, as I have already had my work featured in number of other publications so I think it would be an exciting and fulfilling challenge to create my own.

# data[].attributes.attachment_link.title
BE GREEN MINDED- LUCY DALEY - INFO - MOCK UPS - RESEARCH