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.

sketchbook+: the line folds into Level 3

(as a placeholder in advance of Research tutorial 1).

— the piece of previous work that I have spent most time with over the past four weeks is the final work produced during Digital Image & Culture: the line, which I finalised as a tumblr site, and am currently in the process of re-publishing through facebook as a public album.

The line is also the piece on which my submission to the Walking Arts Network conference in Prespes, Greece, is based. So I am currently also in the process of writing a 3-4k word contribution for a conference publication as well as considering how it will present as a 15-min talk/presentation.

As part of the re-publishing process I am keeping an offline journal which I will move here at some point. There are some thoughts I have here right now in terms of how to proceed (and what can become part of Res or BoW and what is best kept aside).

Here some notes from this morning:

I have the strong sense that the line is crucial for moving forward. I want to test some of that with Rachael in our first tutorial today.
  • the line as fragmented space that is very much non-linear
  • the line as imaginary and anchor to the pieces articulated
  • the pieces articulated are diverse:
    • private chat
    • dreams/thoughts/fantasy
    • more functional notes and records
    • methodology concerns
    • fragments from other authors
  • there is no clear order as to how they are encountered: they are clearly not a singular line to be walked but multiplicity
There is much in here that is definitely about near space: about relational concepts and about performance.
The performance is in my voice but also in the conceal/reveal that is taking place
The current re-publishing through FB (as suggested at assessment) is testing some of that but also any relationship between audience and work/.