The work was quite challenging, but there again, I suppose it is meant to be. It can be quite a balancing act, trying to get some decent resolution images together within a file size constraint. If I did this again, which am sure I will do shortly, I would allocate time for image sizing.

Well, there we are, it’s down to experience, that’s something we certainly gain in abundance.

For the project proposal, the most extraordinary thing for me was managing to summarise the bulk of the work in just 600 words when there was a 1500 word allocation. Of course, when I looked through my notes and mind map, there was still plenty to add, and I got there.

In retrospect, you’d think that starting early and building in contingency would solve the deadline problem. However, the information we gain in support is progressively administered to us. First attempts can be added to with each passing week.

My planned project ideas seemed so confident at the beginning, but then my plans were shaken from the foundations. I seriously began to doubt my choice. In my own terms, the Academic worth needed to be apparent. What sustained the original was a degree of preparation combined with a planned commemoration in Perth Scotland. I had considered project ideas that were totally different, but something in my soul took me back to the Commemorative Historical work. I thought more and more seriously about what would be needed to make it work.

A breakthrough came with the introduction of genetic analysis that has enabled me to bridge between the present generations and those who took part in a significant world event, over 100 years ago. The original commemorative history I’d focused on, has been retained, but for reasons of story. The DNA side has caused several changes not least, shifting emphasis to my maternal line on learning how mitochondrial DNA and X-chromosomes pass between generations. The focus remained on the same world event. I’m aware still that the whole thing could be thrown up in the air as I progress through the course and I steep myself in photographic theory and art.

Quite a revelation for me in terms of my approach was the example set through an, in conversation, interview with Ian Walker, surrealist and academic critic. Ian is a seasoned critic and demonstrated, by Guest Lecture, how I needed to strengthen my own analysis and critique. Ian can discern what is surreal from what only looks surreal. Also, not all of the work of a particular surrealist may be to one’s taste giving room to express a personal view. Ian also demonstrated how fairly everyday settings, containing the right elements, introduce the surreal. For me, surrealism had been simply an example of artists freedom of expression while pushing the boundaries of public acceptance.