ban/n/ister (two parts)

Over the past month I have experimented with taking foldings/moldings off some objects in the staircase: leaves and protrusions of the radiator along with some single folds of handrail, ironworks and some rubbings too of floor marks.

It follows the idea of indexicality and contact. But also a curiosity around memory and medium shift. What remains, what lingers, what gets lost. Effectively too: what is the thing about indexicality.

It is the most literal end of my interest in contact.

  1. folding the bannister into a sketchbook. i move along one stretch, leave a blank page between each.
  2. option a: fold back into the 2d space of the sketchbook as explored with a few single molds earlier
  3. option b: to preserve by dipping in hot wax, encasing the indexical link.


1. folding bannister into sketchbook


2. option a: fold back into the 2d space of the sketchbook:



3. option b: to preserve by dipping in hot wax

— I decide, after a few tests of dipping the sketchbook pages to dip each of the folded pages into melted beeswax for the entirety of the book:

The resulting object is explored and a little discussed in this video:


There are a series of significant things in here:


The dip/not dip process is messy and leaves the interspersed blank pages as messy. I think they will need to be removed/ altered for the object to work as object.

The process (both stages: initial fold, then dipping) is useful and works: it is performative and works across a whole range of senses: sounds, touch, smell and movement, as well as performative presence.

As part of my test, before proceeding with the whole sketchbook, I dip an empty page of my current sketchbook, then proceed to write in it. It almost seems that this process/ transformation is more significant still:


I also accidentally, and to my horror, create another encased object: my phone fell into the tub with the hot wax. I retrieve and recover. It curiously records part of the rescue. I post this video in a separate post.

distance/proximity (after Res 2)


The tiredness when approaching the staircase seems to indicate an edge. I go often, then divert, pause, gather perspective, go or don’t go. Divert.

Sometimes, when I go I am fascinated by the openness of my discoveries.

The fallen ceiling seems to change things. It is so complex and elaborate. Both in what it reveals about the construction age and method of the once ceiling. But also as to how to safeguard the site and the passers-by.

It seems to want to take its own place within this.

I giggle when I realise that M had been talking about his fear of replication: of the halogen ceiling light and various cracks across. And, above all, L was away and would be no help.

The tiredness seems method. As much as the failure in the peripheral vision is.

Are there places where I cannot stand? That I cannot take.


Black heat

White heat


The tiredness follows me here too.

I feel it. I can actually see it with my eyes struggling to focus.

That edge of the site has bled into my physical ageing process.

I am becoming that edge.


And so does the peripheral vision

It is the moment when I catch myself chasing thoughts and scenarios, so vividly and then so utterly out of reach.

It is a process I have known all my life. That inbetween waking and sleeping space where I and all seems to be altogether different. It is so present and yet also always just out of reach.


Sometimes we trick ourselves into recognising each other.


Depositing scraps is one way of approaching this.

The other is not paying attention at all

(until it comes to you)

And if you ignore it further still it will eventually shout right at your face.

In full view.


The various sites of scrap



little inlay








Here: inside different notes and notebooks. don’t miss a single one.



schemata/ dream logics

[one of the posts exploring the organising forms, principles, and escape routes in BoW]

the route into the staircase, aka Die Luke, was a dream during summer and its complex staircase arrangement and spatial layout. I sought spaces that could serve as sketching/ research base for it.

recently, I drew the spatial dynamics of the dream itself, and think the idea of a schemata may take me somewhere:


one of my most recent sessions with the staircase led to this schema (photocopied, printed and layed out on a coffee table surface):


Then, this morning, I find this schema by the curb, ready for waste disposal:


Research 2: tutor report

Here the notes about the second Research tutorial (the submission material and reflection are in these posts).

The tutorial started with and addressed some of the concerns I had about the research module, usefully at a point when I practically had also moved to resolve the frustrations by making work.

I include the key substantive points of the discussion here, there full report is attached.

The glossary: satellite objects
From this we quickly turned towards the glossary as vehicle and the field it opens out and up. So, the glossary in its terms but also in how it potentially relates to the visual material offers an important and exciting route into exploring nearness, distance and contact. At the same time, the glossary is (at least initially) additional to the academic text of the dissertation, is an appendix.
Rachel begun talking about it as satellite objects to the dissertation text and to then use the requirements of the dissertation to facilitate a (written) ‘body of work’ that consists of a series of other objects. This would at once fulfil the rules, address the institutional requirements but also allow to break them.
In doing so it also at once, exhibits some of the key methodology of the whole work itself: of how to pull things close and also let them go or push them away.
We talked about Laure Prouvost’s Legsicon, Katrina Palmer’s Endmatter and how there are a variety of ways of how my different materials can become a glossary, including the photos, links to texts and other things.
Rachel then mentioned Janet Cardiff’s audio walks (on entirely different subject matter) for the work to be encountered within and outside the gallery.

Relational tables within GIS and the links between analogue/digital
The second main substantive part of the tutorial concerned a meeting I had the day before with a Geography colleague of mine who works with GIS as artistic practice. I had asked to meet with him to consider some of the issues around site, on/offline and connectedness/ fragmentation within the various emerging strands of my BoW. He suggested to explore two things: the relational tables in which GIS stores hierarchical information and thus reorders/ categorises space; and secondly, to explore the ways in which one can draw within an Excel spreadsheet.
I have added the reference and link at the end
I mentioned the usual, fairly straightforward applications of siting and fixing narrative and event within GPS coordinates and that I raised my interest in indexicality (within lens-based practices, but more so around e.g. the work of Anna Barribal) as possibly a better way to explore the connections across (possibly also to consider fleetingness, and the concerns about drawing/contact, in ways the fixing/siting doesn’t generally allow for).

Diagramming my work and its relevant literature
The one thing Rachel would have liked to have seen in my submission are some diagrams about literature and themes. And I realised that, while I have the diagrams about the BoW, the substantive themes, I haven’t expanded these to include the contextual/research work. AP: to do this as part of Research 3
Here, and at other points, the tutorial was inspiring as at times it seemed it provided itself a methodology of how to move within this particular enquiry and the relevant media forms. Rachel mentioned the significance of exploring hybridity and how important it is as contemporary feminist practice of enquiry, and how in turn it then brings with it the difficulty of articulating within a contemporary arts context that still remains media-specific.

Gesa Helms 492645 Research A2

satellite objects make love

she liked. (a lot) (and as if liking was important).
her geek got fully piqued when i told her of the relational tables that GIS produces. she: go, go, go (near, and far and explore that distance).
of the glossary she made satellite objects.
i went, predictably to here. (it kind of returns it to drawing/contact, if Brexit wasn’t a thing).

the original song from the album transformer… lou reed satellite of love

Assignment submission Research 2: a theoretical framework

This post presents my assignment submission for Research 2: a theoretical framework.

It consists of this PDF: Research Assignment 2 (with various links to earlier posts), outlining current status of creative work, a justification for theory and methodology as well as format, a literature review.

I wrote some reflections on this submission in an earlier post.

I am including the middle part: theory and methodology, and format in this post (and will likely fold forward the summary of creative process into another post).

Justification of theory, methodology, and format

My Level 3 work on the Creative Arts pathway comprises a series of processes and enquiries relating to drawing/contact. It is interested in modality, site and practice of an expanded field of drawing that sets out with the body as initial drawing tool. In so doing, it situates itself in a relational practice that begins with a situated, embodied self and as such follows feminist concerns, taking both contemporary writers and earlier performance artists as inspiration.

Interested in contact implies a curiosity about the fabric that contributes to our articulations of corporeal selfhood (as author, subject and audience). At once immediate, sensorial, tactile it also asks wider questions concerning relationship and presence. These concerns around agency, voice, autonomy are at once informed by older materialisms (notably: a critical materialism of social praxis) and are curious about new materialisms and the constitution of the human body (also in its potential hybridity, one cyborg form or another).

This section outlines reason and argument for theory and methodology as well as the form for the dissertation that follows the former.

Theory and methodology

Exploring contact and relationality in small, intimate, near, spaces positions this project foremost within contemporary and near-contemporary feminist concerns: over a body politic, the personal, care and relationality. The means in which these have been investigated in performance and video work of the 1960s onwards also investigate the materialities of such lived experiences and thus more recently lead towards concerns of a new materialism, post-humanism. In this, I am intent to keep the focus on bodily practices and gestures as starting point, and thus to maintain an interest in the signals and processes that constitute phenomenology (references: many, one that usefully articulates past and contemporary practices around relational aesthetics is Reckitt 2013).

At the same time, the subject matter is concerned with moving and shifting: of the unfolding of an event, a gesture, a relationship: what chain of actions take place to co-create drawing, contact and thus space in these small-scale encounters? It is possibly here that some of the contemporary theoretical articulations, originating with Deleuze/Guattari and being further articulated by Rosi Braidotti’s (2011) nomadism and others that concern the transversal, the translation. While not within the scope of this undergraduate dissertation, I nonetheless hope that this focus can point towards a form of practice which speaks to some of Friedrich Kittler’s (1999) media historical arguments concerning the shifts of possibilities and closure with each new media technology precipitated our understanding of not only ‘writing’ or ‘drawing’ or the ‘the visual’ but also constituted ourselves as subjects, bodily and haptically. Practically, this enquiry thus follows a series of movements and shifts across forms, sites and encounters (analogue and digitally) and seeks to examine closely the material processes at play in these movements.

An important aspect, already discernible in this and the earlier document for the module, concerns a question over there being a practical way (and a methodological/theoretical interest) in dealing with questions over divergence, excess and a porous and open practice (I have currently the sense that this relates also to the issues of smallness, fleetingness and absence, above). The form of a glossary (see below) explores a way of investigating this for the Research module (BoW has other forms and processes to pursue this concern, such as inventories in different forms, redundancy and iteration).

The methodology is primarily articulated and explored through the BoW: the concepts of near space and moving-with in a series of artistic propositions around drawing/contact. Here, A2 and A3 of BoW have so far been a considerable research laboratory to explore what these concepts can be within an expanded field of drawing. There is data collection as to the experiments and processes to test and explore to understand my concepts and what they do. – I intend to submit BoW 3 during November before investigating the material more fully for Research 3.

Format of dissertation

I seek to represent (and present) the above in a dissertation that sits between three of the identified forms: creative writing, auto-ethnographic and traditional.

This choice follows from both subject matter and theory/methodology to find a form that allows to mirror concerns over fragmentation, relationality, transversalism/nomadism; of the body/ the sensorial as significant means for sense-making; and thus to employ theory/auto-fiction as element.

The format of the essay will be a narrative framework which takes the text as an artistic proposition itself (as one means of enquiry), and in doing so possesses characteristics of a creative writing proposition. It does so within a context of auto-/self-writing (which is somewhat covered in the coursebook as reflective practice) as much as theory fiction (i.e., also touching on elements of what the coursebook calls traditional/research essay).

walnut gravity support (drawing/contact performance)

Reflection on Research (2: Theoretical framework)

This post accompanies my submission for Research 2: Theoretical framework.

It’s been about five, almost six months since my previous and first assignment submission for Research. This current one contains an articulation of theory, methodology and form of essay, along with notes on the status of the practical work as well as a literature and resources review.

During those past months I was at times close of walking away from this degree and that is largely due to the nature of the Research module: I find it entirely repetitive, generating lots of material and yet not offering anything in a way of editing the material. Furthermore, it proposes processes of dissertation research which are almost entirely suited for a social science project and only barely make reference to artistic research. I see how it genuinely tries to be helpful in supporting students at this stage, yet the ways it does this: lots of activities, lots of angles, only poorly cohering (what is the relationship between the various bits of writing at ‘exercises’ and the final submission for each of the assignments??) — in this it appears prescriptive and thus entirely limiting: there is throughout a sense that planning takes the place of a creative practice, that constant articulation is the way to evidence one’s academic readiness and thus to pre-empt investigative and creative processes (I understand that part of this is again the limits of a distance-learning degree, another part is due to the wide range of practices coming together in Creative Arts, but the third part: to assume a step-by-step planning process ensures progression is counter-productive for at least half of the students, and a somewhat lazy administrative process currently so in favour in UK HE0.

The advice by my BoW tutor to disregard the coursebook(s) was given early (and in some way how I worked with earlier, similarly limiting coursebooks, notably: Drawing 1 and TAOP). Yet, at this stage this seems not helpful and in the absence of what else, it drops me into a void. — There are afaik five students on this pathway plus myself, three further along, two in earlier parts. Also, by doing two modules concurrently, the contact with each tutor seems distant and hardly present (both tutor and peer interactions were entirely different in Level 2, and these were both, along with two very good coursebooks, the reasons for me to continue).

— This means it takes considerable effort to articulate a way ahead with the dissertation module. I would like to make each stage useful to me and it took me several attempts to do that with the current submission.

At this stage, almost half-way through the current two modules I can see that BoW and the practice investigations drive and animate my work. That my work is theoretically informed and methodologically curious does not distract from the former. In the BoW tutorial in late July we discuss to use BoW 3 as experimentation and research stage: to investigate my key concepts and processes. I did this and this current Research submission is my first point of assembling and stopping to reflect on the content and process of the Creative Work and reflect it back to the initial Research Proposal. For this, the process to get this current submission ready involved the following:

[x]assemble the materials you have so far: create an inventory
[x]write-up of BoW and research within it
        (then check what you had written before)
        (this will form the overview for the ‘findings’ material for later on.)
[x]glossary as focus (Williams, Prouvost, Vourloumis, also: Wu Tsang)
[ ]key literature: expand and focus in from Res 1
So, effectively, much time was spent on assembling a review of the materials of BoW and to reflect back on what I had said a few months ago about the direction and content of this. I enjoyed this process, it was good to do and to reflect on what is possible to experiment with and notably, what remains difficult and fleeting. I also drew out three current investigations to explore the idea of near-space in performance/drawing and feel quite content with having found processes and materials to employ in this process.
My resistance to the Research course material arrives from the fact that I am well used to writing academic materials at an advanced level (for peer-reviewed journals, academic theses etc) — and for a 5k text I need about six weeks not the duration of the course. — I knew this before I started, and having just recently supervised 10k long social science dissertations has brought the difference of instruction to mind. In all this, I want the module and the dissertation to be useful to myself: there is stuff I want to learn in this field, in my writing and in my artistic practice. So, how can I realistically do that in the confines of the course?
The proposed format (creative writing + reflective + traditional, in the words of the coursebook; in my own words: auto-ethnography meets theory fiction meets methodology) is one way to hone and develop my articulation in this field; the investigation of an artistic research process around the themes identified another.
I have mainly resisted at this point to provide a literature review besides the one already included: I am currently working with notes and diagrams and images and reading and feel this is productive; I can write these through for the Draft of Research 4, but don’t want to get embroiled in a discussion over individual sentences in my materials.
Preparing this submission I discover the extent to which I am actually conducting research: the material I generate is of that nature and I am excited by this: it is at once a known process but also new as it concerns a different field, different form of enquiry and I am looking forward to the next stage of Research, the data collection.
I have included a number of links to the BoW material and remembered how useful I found the tutorial of Research 1 on the line, the resulting reading and the understanding of my research process and artistic practice.
The above is a comment on the course direction, it is not one on the tutorial process at all. I know that I can be quite literal with instructions and get frustrated by poor ones before stepping to the side and making them useful for myself. I hope that my submission will facilitate such process and I look forward to the tutorial.
My suggestion is to conduct both BoW 3 (almost ready) and 4 before submitting Research 3 (data) and Research 4 (draft) after that.
Shop front cover and reflection, Karlkrona, September 2019

moving-with a line: gossip, secrets, a messenger app

— this is the manuscript I submitted as part of the Walking/Arts conference in July in Prespes, Greece.


This contribution explores a series of video pieces of encounters on street corners, in parks, at dusk, at lunch time. They also take place in private chats, in Facebook posts: circulating across a networked public, tracing notions of veracity, transparency and secrecy. In their gossiping nature they insist that something happened while attending to the power of silence and our attempts to comply and subvert at once. The work is interested in the constitution of public and private in circulation and production: what happens to a private self when it becomes public in: a series of movements-with, urban space, an audio-visual body of work.

a PDF of the manuscript is available here: Gesa Helms Moving-with a line_080619_FINAL_image placement

d/c event: walnut gravity support

— it’s a working title, and it is the continuation of my earlier post (and research) on absence, walking into the verge, small performances.

These happened on the day of my departure. They are planned differently (like me walking on my own across some of the fallen walnuts. My dad comes and offers assistance. I don’t refuse and a series of explorations on drawing/contact ensue:

absence in drawing/ contact

There are a few routes that I would still like to explore for Part 3 of BoW. The investigations of edges, sides, spatial demarcations and what bodies move across has been there since the bridge and road crossings in Northern Greece, they got taken further in August and September with explorations of routes, bridges, side views when moving (see here), as well as the biggest series of work around verges/weeds (minimally here).

When I started drawing the concept maps for this project, I kept finding some questions about in/visibility and absence. I conceptually knew this to have been a recurrent theme, it seemed to belong here too — in its most simple form: what happens when nothing, no drawing/contact happens, but I hadn’t got a sense how/why.

One medium I have continued to struggle with has been that of 1:1 performances or even of devising solo ones. It seemed futile, insignificant, compared to the materials that I would come across and find and develop further from an initial find.

Last week I did however pick up the idea and it was a simple one: to walk into the verge, and then later: to purposefully walk towards a point (in this case, a single apple). These developed over a few days and became some investigations into gravity, movement, our initiation and observation of these (it is also a lot more, but let me see how I want to articulate that).

The ‘verge’ is one of the wild flower borders in my parents place. It continues from there to two apple trees and later a walnut tree (all in early October).

This is the FB post and commentary I wrote about it and which explores ‘absence’ at the heart of the project’; I am also including another post on failure, which is similarly relevant, given my concerns about smallness of the subject matter.

  1. sweet Rambour

he is already my substitute. i ask her first, she is not keen: i don’t think i can operate your phone camera. he, as usual, is as keen as i usually am. when we walk down, we walk underneath the walnut tree and as on the days before, we step on nuts, on cracked nuts and on empty mushy shells. i say what i would like to do. it sounds simple. it sounds again too little. i am tempted to apologise and then think better. he says: so you want test what happens when you step off the marked way. i nod and explain him the camera and what i would like him to do.
he does it (beautifully). and we acquire this sketch.
later, she asks: are there more walnuts. i say: what do you mean? of course there are. if you asked me if i specifically stepped on some i hadn’t stood on before, i can’t say (but perhaps i should).

  1. Gesa Helms [i cut myself out of the video. it doesn’t work. it’s not the important bit (but i may need to know what bit that centre bit of myself is).]
    Edit or delete this
Gesa Helms — in this, underneath the walnut tree and later, early in the morning i discover why i had not removed the absence from the course instruction. it is clear. it resides in the mobility and it is an absence of site. it turns everything mushy and small and fleeting from what was before. it sits right at the heart of things, i have been practising it for a couple of years and it’s as simple as that.
Edit or delete this



2. just after, I write this on failure:

earlier, still, i write a note on failure. the failure is obvious. i speak of it on the second phone call. the first one was mainly my silence, after stuttering: it’s not good. then i am silent again.
the failure is simple, i try to bypass it, to make it non-consequential but it sits at the heart of things. it pounds with a steady beat. it was what invited me in. and now it just evades, i reach my hand out and it remains nothing. not a single thing.
i offer a reason, i don’t think he believes what i offer though he sees the consequences and hears ‘i don’t want to talk about this’ and ‘that is enough now’.
let me turn to the note. it is a line through the year, you can fill in the gaps (you will know a few of them).
The form that folded onwards and sought to become different, other, more, and different again. The final piece in the room contained precisely that: an instruction of a performance for one. Folding, opening, folding again.
He admired my enthusiasm. He mistook my accent and my determination.
In the grass there was everything I desired for this. Like that.
I say later: I don’t care.

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towards BoW (3): synthesis

While most of my research takes place elsewhere (again), I am now beginning to pull together the materials from BoW and Research.

The plan is to submit Research 2 before BoW 3. In order to do so, however, I am seeking an inventory of BoW and my investigations that followed from the previous tutorial in late July.

The tasks back then for BoW were as follows:

What is near space, moving-with and drawing/contact
>> testing my assumptions and links
what constitutes source material?
what is contact?
what is small and insignificant?
what is the translation/transfer between media
what is the sensorial?
what is the relationship?
The one of these that has been following me most, is the question of small and insignificant. It sits primarily as criticism of my approach to this project and it returned at every turn. Over the past fortnight, while testing one performative angle I think I finally got hold of it a little better and it became a thing to feed back into the process.
So, let me review and assemble the various investigations for this work and then conclude Res 2, then followed by BoW 3.

kaleidoscope / revisited

inadvertently I revisited the kaleidoscope images from right at the start of this. I had printed a few dense shrubbery images from the verge/weed series on inkjet to work on, but hadn’t really moved much with that yet. yesterday, while waiting I started folding and it became an inside/outside viewing device/ lens/ focussing object. I took some more with me and will explore a little further.

the initial kaleidoscope images were: spatial praxis play (2: kaleidoscope)

(elsewhere/ otherwise I took a series of routes through drawing/contact and what that concept of near space could be, as set out in the forward plan after the previous BoW tutorial. I am now beginning to review, move and assemble what is there so; will send the overdue Part 2 for Research off in the next couple of weeks and then assemble Part 3 of BoW (for this, I still want to do a small number of enquiries, pursue questions that got raised, these notably concern a couple of larger drawing pieces or more sustained working in series and iteration)).


i catch late and early sun on a couple of rolls each

Gesa Helms added 7 new photos.
1 hr

last evening and this morning i catch late and early sun on a couple of rolls each.
— the verge romps ahead in late summer resolution towards its demise: the only plant growing in abundance is the bindweed and it helps topple thistles and nettles along with all else and creates the most intriguing sculptures (it is Daseri in miniature, no villagers displaced here).
i don’t find what i found all other walks but am again enthralled by the lure and beauty of that waist level viewfinder. part of me wants the world in that viewfinder forever. a bit like the wind last Sunday it separates the view and isolates (here: by distance, i can take the narrowest slices through).
the images become in this much more still and sculptural (it’s not what i have sought and still it is of course also in the ones from three years ago). i stick with it and it’s abundant along this route too. it is warm and while i considered the insects i did forget that stepping into verges to photograph tall and extensive nettle patches has a bodily effect. this morning i at some point jump in front of weekend cyclist with a loud ouch. the sunlight is pretty glorious and sculpts further. it is all a little too pretty and the film substrate will make it more so. but then: nettles and bindweed.

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Image may contain: plant, sky, tree, outdoor and nature
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Image may contain: shoes and outdoor
Image may contain: shoes and outdoor

BoW 2 (Gather and Manifest): tutor report

Here is the report from the tutorial from 31 July for part 2 of BoW.

Two items here for reference, the rest in the document below:

Project proposal (if any change) (student)

To refocus towards the attention on process and material shifts rather than taking performance as key to the project.

To explore drawing/contact within the parameters of the methodology that I have already begun to articulate and test and experiment with a view to gain an understanding on:

  • expectations of the work
  • digital and analogue forms of these
  • the types of relationships between objects and the overall container, holding framework, assemblage of the work

Critical Reflection (space to critically reflect on the work across both units) (student)

Role of concepts of near space, site and moving-with to create a terminology to describe a performative action (of drawing in an expanded field)

>> the methodology for the project needs further unpacking and articulating: where does it come from and where does it reach.

>> here the glossary that Rachel suggested for Research is indeed useful (possibly to explore and make connections, to refine – not necessarily to define down) [I am thinking of e.g. Raymond Williams’ Keywords].

BoW then would become the place where I figure out practically what the methodology is for the ideas concerning near space, drawing/contact and moving-with.

Part of my own reflections (and which didn’t come into the report) are here: tutorial reflections 1: what is (source) material?

tutorial reflections 1: what is (source) material?

— following my 2nd BoW tutorial last week, I want to write up a few posts exploring some of the key themes going forward. This is the first one, the other ones are likely to be:

  • what are expectations of self/object/viewer in the work?
  • what about the smallness of things?

For the past few months, I had a sense of what events, gestures or questions would become source material for the project (they were significant, they generated questions for myself and they invited to be explored and shifted in register). Following the tutorial, I however think, that my source material is far broader and more extensive than I had previously anticipated.

It was becoming evident when discussing what I had and notably what the role of the lens-based material is. I tend to sketch with the phone, and yet I hadn’t thought of including virtually any of the photographs as work (the moving image clips possibly, but also not really).

It was also then becoming clearer as to discussing why an event/ gesture/ question is part of the project (and which ones I overlook); and whether I had collected and explore enough for assignment. I had far too much, Doug seemed to indicate I was an assignment further on that 2, and also that there was not enough time to even go through material that was already on the blog/instagram, let alone the material that was still sitting aside/offline.

This has been turning in my head and so I wanted to explore it further. With my parents, I went on a day out yesterday and I designated the day as exploration. I used the camera a lot to observe what came to attention and recorded a series of questions.

Here they are: road signs, positions of bridges, then an artificial mountain of a mining extraction and its position within a field of wind turbines, cloud formation, incidental signage and finds.

The questions or interest revolved around connections while moving, and of bridges/crossings.

— I recognise that earlier bigger projects also started to follow a line of adjacent/ juxtaposed propositions and questions (notably: the line) to place a series of themes next to each other or in relation with each other. I will explore existing material with this in mind to see what it is that leads me to include within the project or to consider part of the project (i.e.: to ask what is the connection/contact/moving-with that I am interested in and how does it manifest and when).

sketchbook: 2.12 ko-loop edit

I presented a short cut through the site/moving-with question to the art&environment group on Wednesday evening. For it, I had edited in iMovie+Powerpoint the set up to show the three pieces from the pavement walk in Kozani on one page.

— It was rough but functional. I knew that iMovie doesn’t allow a three-way split screen, and Powerpoint for Mac doesn’t allow to export as video slides with embedded video. So I finally opened the Premiere Pro and figured out how to split a screen and a few hours later, this is a more than functional sketch.

The audio is surprisingly generous of both clips and works well, also in interaction between them. I edited the ending a few times and this works for me at the moment.

I will review a bit further as to balance between the freedom of moving and the structural constraint.

sketchbook: thisconnection as bridge

for months i have been circling around her. like an elastic band i stretch the connection and at points then jump right onto some of her pages.
i write a cryptic line in my summary and off i go again.
this morning i pack all three and search.
among other things i find:
as i continue swimming i bodythink through the cosmos. through the work the living and the dying are doing for each other at this moment in time and any other. i had realised earlier this summer that my dad is going to teach me something vital. and here in this process with Achim i realise the work that is being done by us around to facilitate the movements between here and there and what each receives in this. i think i rarely felt so tender amongst it all.
thisconnectionofeveryonewithlungs (juliana spahr)
it is the closing line of a longer thisconnection (men, women, roleplay, victims, essentialism)
she will be the bridge across and away from the site. form content that connects while standing apart.
in army of lovers, she and David Buuck investigate a plot of grassy wasteland between a few major roads.
i have precisely such a plot. a pontoon bridge leads to it. all sorts of insignificant incidents take place. some are fantasy. a good part happens on speed. someone falls into the water and eighty-seven pelicans take off while the sparrows argue over the best spot to pig watch each morning. he who opens the kiosk at will and hides in dark corners within sells me an ice cream for €2.50. i think he made the price up. next time i check and i know he did. but he settled on it, having committed to a sun-worn board with lots of expensive ice cream (all cost €2.50). it sits next to the instant cameras,€20 for 2. how did the film develop?
unrelatedly, i observe the verge. in mid-July on the abundant West Coast it is exuberant. i move along and record it. later i step into it and record some more. elsewhere in the village, the council spent money on controlling growth. it does so abundantly. i record eagerly and just wait for being approached by watchful neighbours (none so far).

the specific connections this post makes are to Ag Achilleios as site and the bridge as site

I have an earlier short note also relating to Juliana Spahr here.

site: the bridge of Ag. Achilleios

the bridge, the bridge, the bridge
– is what made me go for the accommodation
– is possibly what made everyone else go for the accommodation
– i cross it probably around 15 times or more over the week.
– i rarely cross it on my own though, perhaps only 3 or 4 times
– the first time i see it it is dark: Jo drops me and Laura and Paul off. Laura and I hadn’t been. the reed, the floodlight and the mosquitos, then the noise; i have to tell them that it is my birthday. i am bursting with joy.
– crossing it in darkness is still the best of it
– i walk early one morning (around 8am) and take the spider web photos
– early on, Georgios and I cross it slowly, he films, i film a little too
– early on, we walk upon a boat that wants to go underneath. the old couple gestures for us to wait, while they duck down and move underneath
– on Friday evening, at the end of our pelican tour, we all do the same
– i watch red dragonflies, snakes and snake skins, many water birds, i see a dead trout drifting past one day, see green lizards and Greek wall lizards, hear frogs, so many frogs.
– one day i return and find some chalk marks. later we find that they are Manuel’s who wants to talk about them in the village hall.
– we hear the story of how the bridge was built from Panos and later again from Eleftheria. it was built for her friend who couldn’t get to school in winter and wrote to the president. they build the bridge so that her school wasn’t just summer school.
– some nights the bridge meshes with the tsipouro. one day it is windy and the wind animates; and then one day i watch a thunderstorm over Vitsi while i walk across on my own.
– i meet Karla on the bridge when she arrives. i meet her again not much later. we stop and chat
– Jo sends a text that she has just arrived. when i cross i find her chatting with bean lady via the voice animated google translate.
the bridge was so absolutely worth it.










she fell in love (layered)

this is the centre slide from the presentation of the line. I want to record the whole presentation again but haven’t got it finalised yet.

— I am trying different forms of editing voice and video at the moment; this is a direct recording and then export within powerpoint (current version for Mac), it does some things quite well, it doesn’t record any audio across transitions, and it also seems to show that there is audio on the slide (the symbol on the bottom right). Yet: the synchronisation is straightforward (before I would record audio separately and combine files in iMovie).

concept map 2.0 for BoW: drawing/contact and near space

Following submission of BoW A2: gather/manifest, I sat down and revised the concept map that I made for BoW A1. Notably, I have clarified as to what concerns its modality (methodology and artistic practice) and how the concept of near space provides the substantive focus (between drawing as means and contact as intent).

Quite a few aspects are still not articulated but rather loosely grouped together. However, this will serve for the next round of focus but also provides a direction for the next Research assignment and how to achieve a stronger focusing in on key aspects.

Mindmap Theme BoW July 2019