— 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).
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).
— move, lock, pause. move, lock pause. it rotates around the axis of the split screen (but not quite); the camera is fairly static but still hand-held, I suspect. Twice, or three times the screen goes black except for the split and some colour cast, the monochrome and colour side switch. for at least one of the sequences, the camera is further away. the screen is suspended, like all others, from the ceiling, has some leaves wound around the suspension leads. to the right you see part of the large projection across the far narrow end of the room.
i read Benjamin’s Haschisch in Marseille (though in English). i want to be annoyed at it and subsume it under that bourgeois bloke who meanders, flaneurs along, unguarded and naive, seeing universality in all he does.
of course i am not.
i never read much of Benjamin beyond the Berlin childhood and Mechanical reproduction (i think my younger self never considered herself bourgeois, cultured enough to be illuminated into the arcades). there is so much in his that i recognise as a well-known modality of my own, sans l’haschisch, the receptive introspection and the meaning that shifts along, tumbles forwards, connects out while being thoroughly with oneself (at once in fragment and complete). then there is the recording, the protocol, the account.
— there is also something incredibly tender at play, there is a curious affective touching that goes on, almost in passing. (and i am thinking of that loud pose that Springgay and Truman strike with their call for affect, which drowns out the above, or perhaps also doesn’t quite know what do with that that they can’t categorise/ identify as white settler self and his others).
i had, this morning, when i dreamt up the modality for the meeting, also figured the relational forms that i am tracing, holding and letting go in the moving-with that i am doing. it is quite different too from any of the participatory stuff and aims at a social, it may just be boring social geography after all. it needs that social, both to understand the violence (close and far) but also to conceive of the tenderness, the longing. it needs a little trippyness too, i know where i get mine from, Benjamin clearly described his.
(work in progress)
Gesa Helms I download a new edition of Einbahnstrasse, and chuckle (a) at the age of modernism; and (b) at the datedness of my idea to use the separation between text and footnote as a line… of course in Benjamin’s time, the Feuilliton ran from page to page at the bottom of it (not like in my times as a supplement to worthy papers):
— And the textual diversity of One-Way Street ensures that the street resonates with the hubbub of many voices, with what Lionel Trilling once called the great “hum and buzz” of social interaction. Benjamin’s built environment, his “one-way street,” is a thoroughfare that requires not just mental agility but especially a kind of modern urban literacy.Edit or delete this
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Edit or delete thisJOURNALS.SAGEPUB.COMThe Power of Distraction: Distraction, Tactility, and Habit in the Work of…
ETHESES.WHITEROSE.AC.UKPerforming as Mapping: An examination of the role of…
Gesa Helms tangentially, I find this and feel rather nostalgic: both for the Feld but even more so to that praxis that was critical geography around Berlin around the second half of the 2000s. hey there, Uli. https://s3.amazonaws.com/…/Stanek__best_chapter_only…Edit or delete this