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.
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).
i found a working colour scheme for the corridor, took some photos (vivid warm in Photos) and printed them on cheap glossy, cut and rearranged: part of it wants to be fixed, orderly positioned; other parts need something else. here some views:
— earlier, I had posted this note on FB about vivid warm (other space):
Gesa Helms i think there may be more in this corner and with vivid warm. i would have never considered ‘vivid warm’ as the filter that would do it. i have been trying for over 18 months and this is it. the weirdly side-stepped mind of contract end minus two and C noting down a +30 offers this and makes me quite ecstatic, not that i need any more of the latter in any case. looking forward to meandering with these for a little.Edit or delete this
Moving from the end of Drawing 2 and towards Research/Body of Work has been swift — D2 was completed and submitted for assessment considerably earlier than planned; and it was ready to be done so.
This also means that from early Summer onwards thoughts and ideas were beginning to form around Level 3 and its focus — most of these are methodological: the how that connects the what. Yet, there is also a set of themes and enquiries that I did not pursue with Drawing 2.
The parallel project did become a video right at the end, and one thats plays with the actual framing of the work: is the instruction an instruction or part of the work itself? where is the actual space/ site of the work and who is part of it:
Initially, however, the moving image work that I was intent on producing would take the corridor itself far more as site and actually engage with it visually and performatively further than what Parallel Praxis does (in PP, the corridor mainly exists in sound: the movement noises of passing through it, doors opening and closing and my narrating of it).
The early impulse for the corridor were a series of popular culture references — some gothic, some horror, which followed from this early study of the boundary between corridor and office:
The references were in part from the American Horror Story anthology (Asylum, Murder House and Hotel in particular); as well as of course this:
Throughout Drawing 2, I investigated various means to visually work with the space of the corridor, to draw, film, sound it out — the problem of presence and visibility remained. Early on, my tutor and I discussed means by which to set up an enquiry elsewhere: to treat it like a residency elsewhere, not as the space that I actually encroach on, seek my own legitimacy. This issue would resurface in various ways and eventually, for Assignment 3 (Green (Did I work hard enough)) lead to my departure from the space towards one green space and then another still.
The second means of working with the corridor would of course be in fiction, imagination, fantasy: to pursue a series of strategies in which the corridor mainly is a reference point, a marker from which a series of investigation spiral outwards. I was seeking such an approach early on, but know from experience too that most of my investigations tend to follow on, hold on to, notions of the real, an actual observation, experience for a rather long time before an opening towards a fiction of these emerges. So, during Drawing 2 that fictitious corridor did not exist.
However, right at the end of the module, through Assignment 5 m(e)use|use me, it begun to present itself: the box/artist book of 12 prints crumpled up that traced a year with the corridor pursued visually and performatively an opening out towards an other space, another presence of the corridor.
— In m(e)use, the corridor becomes a handling collection: invisible, yet present, and as the pages are unfolded, they link towards the corridor itself, operate clearly as representation and an object in their own right. Many of the photographs themselves operate as optical illusions, or perhaps, better: as attempts to seek alternative spatial configurations, constellations; to open out: forward, elsewhere; to offer alternative readings, practices and presences.