Amanda Egbe
Transtechnology Research,
Room B312 Portland Square,
University of Plymouth,
Drake Circus,
Plymouth,
PL4 8AA
amanda.egbe@plymouth.ac.uk
www.amandaegbe.co.uk
www.bashta.co.uk
Deptford|Tributes – 2009
Amanda Egbe is an artist, filmmaker and PhD-candidate at Transtechnology Research. Her work often uses archive materials, and fuses documentary and fiction to create experimental film, video and art works. Amanda is a graduate of the University of Westminster where she completed a BA (Hons) in Contemporary Media Practice. She holds a Masters in Digital Media: Technology and Cultural Form from Goldsmiths College, University of London. She has worked on collaborative film projects like deptford.tv, and archiving the work of the Tesla Research Interest group at the Computer Science Department at University College London. Her research interests are concerned with the history of the moving image, archives, issues of representation, the technology of the media, art, science and technology collaborations, and the potential of the moving image outside of the realm of arts and entertainment.
Current Research
Modelling the Moving Image: A practice based exploration of the use of moving image archives; illustrating, documenting and eliciting radical conceptions of representation, perception and knowledge.
This practice based research takes place within a context of the shift towards digital archiving and the problems that arise over maintaining and restoring the objects of the past, where these objects are re-iterated and remediated through new technologies, and where knowledge and history/herstory is being increasingly produced and disseminated through a moving image form.
Using digital technologies the research will identify hidden histories, that is the illumination of those alternative moments in the construction of the moving image, its technologies and history, and how these can be utilised to construct and understand “ways of seeing”.
The research will explore how the archive can be transformed, producing a critique of traditional museology, and exploring tactics for the production of new archives, “living archives” which make visible issues about the ownership, use, readability and production of the archive, alongside the potential for producing models for the future, using technologies such as immersion, motion tracking and capture, producing feedbacks that inform us about the construction of the technology.
Life in Peckham – 2008
