Finished Film

Above is a link to my final film for the exhibition.

I have completed my film for the exhibition and know how it will be set out.

The film will be played on a T.V., which will be lying faced up inside an oblong box i have made. this box is white on the outside and will be painted entirely black on the inside, with a frame around the T.V. screen so that the viewer will not be able to see the T.V. set. The viewer will listen with earphones. the idea is that the film will seem to exist in a pit of nothingness; an interzone where time is not measured. the use of headphones will isolate the viewer with this world, so that they hopefully will pay little attention to linear time outside of the art piece, and will instead be led by the varying paces inside the interzone. the isolation will be heightened by the way i have designed the box so that viewers have to bend down close to the small gap in the box in order to see the film, thus they will not be able to focus on the surroundings. this creates a sense of intimacy with the film and with the memories in the film. in the video, the start has a slow tempo and it gradually builds up to a climax point, and afterwards it drifts into a very slow tempo again with the waves. this creates a warp in time. all the while, the viewer may have a looping awareness of time passing due to the fact that it can only be viewed singularly and so if there are other people wanting to view the piece, a pressure will be created.

I added a clip that I filmed over a year ago of the tide at Seven Sisters beach because I wanted a clip of a running stream to accompany the memory. The stream follows the idea that time is fluid and you cannot hold onto any given moment, (“No man ever steps in the same river twice, for it’s not the same river and he’s not the same man.” – Heraclitus), thus it would have been ideal for the clip to have been of a running stream, but I was unsure whether I would have been allowed to steal a video from the internet and I didn’t have time to film one myself. It is actually perhaps quite interesting that the film is my own, as there’s meaning and memories attached to the clip. I like the use of moving image to accompany the sound as opposed to stills, because I feel there is a slight discomforting contrast against the still images and the fluid audio.2016-11-28 (2).png

Halveig’s memory was injected as a way for strangers to dip into another strangers memory of another time. This, along with the photos and clips involved creates a layer of different times and memories, all combining to become one. On the contrary, I do feel that perhaps I have involved too much and it has become too busy. I would like to experiment with the memories on their own together and see if this is more effective than when the memory is combined with these visuals and sounds. The film is quite a random concoction of various sounds and points in time with various meanings and memories attached. I may have even over-loaded it. However, it all combines to form one, all meeting in a supposed ‘interzone’.


More Thoughts on Film

I have almost completely built my box inside which my film will be shown. i now need to manipulate it. i would like to sink the recordings of people reciting memories into it. in the film, the sound of people talking echoed in the background sounds white distant and dream-like; ambiguity is created through the way in which you can’t work out exactly what is being said. a sense of distance in time as well as space is created. this suits my concept of an inability to hold onto time as the voices sound almost like memories themselves.

i no longer like the climax point at the end, specifically the white noise. i think that it feels too dramatic and particularly if i will be using recited memories, which create a slow pace i feel , given the calmness with which they are recited. i would like to allow a slight rise in tempo, but perhaps allow it to drop afterwards again, injecting a memory or two with more photos.

before, when i wan’t using memories, i wanted to create excitement with fact and visuals to grip viewrs, but i feel i don’t need this, especially if the memories will be used.

i need to remember sometimes, that art doesn’t have to be too dramatic, and that simple can be beautiful. i think that i will create a few climax points with fading imagery and various memories. this will play on the loop.

i don’t think the whole memories need to be recited, as it is merely about stepping into another time, not reliving it.

the problem is how the spoken memories don’t particularly link to the photos.

i think that to improve, i would accompany the sound with a film of water running throug a stream, perhaps with a block of metal sat in it. the stream acts as the fluidity of time and the block acts as a pressure or resistance

against that fluidity. however, that will not be for the exhibition.

Five Memories

Listed below are five of my favourite recorded memories. They were chosen for the way in which they were recited, for the content and the descriptions. Some of these i.e. Thea’s are heavy in content  – the story of a death of a friend. Some, such as Georgia’s, were more lighthearted, but were just spoken in an interesting way. I find that the most successful recordings are done when the speaker almost forgets that they are talking and ends up on a tangent, mentally transported back to the time when the memory took place. They talk in a drifting and slow manner. Some of the less successful recordings have been recited as though I had told them to tell me a memory, so they were listing it. It ends up sounding less as though they’re releasing some vision taking place mentally. I found that three of the below recordings were done with others around, so some people may find this more comfortable than when it is just them and I, when it may have been a bit too intense and thus difficult to relax enough to mentally transport. Some people find this difficult anyway and may have preferred reciting it whilst on their own. I will make a post with all of the rest of the memories too. They are all relevant and interesting, but I now know that the reciter should be as absorbed in their memory mentally as possible for it to be interesting.

Thoughts on first two recordings: (These were the two from Georgia – the other will be listed in my other blog post) Voice 23 – Georgia’s wedding memory; I think that the way that i am not talking in the first recording is quite effective. it allows viewers not to be distracted by the two voices. the ‘mm’ and ‘oh my gosh”s aren’t necessary and take from the memory recited. i was trying out replying thinking it might make the reciter feer more comfortable but i do not think it works well. it is distracting and unnecessary. the second recording ’24’ is too long, at ten minutes.

the subject is family related;  her brother splashing a water balloon over her head. there is a good amoung of description. she explains the dress, the ‘satin shoes’, how she felt, the beautiful, sunny day. something from the youth works well. i’d say under four minutes is the best length.

it relates to time by pinpointing different points in time and weaving them together in the present.

what is interesting about Susan Hiller’s UFO stories is that, as a viewer, you may not necessarily believe that they are true. however, what one viewr stated that they found interesting was the conviction with which they were spoken. it is all about being told a story; the suspension of disbelief; this relates to my philosophy lectures on the storyteller. This is similar to A.R.Hopwood’s ‘false memory archive’ – they’re told with conviction yet not necessarily true. you concoct it inside your head, but it may never have actually taken place. lots of people reciting memories that may not be true. but does it matter? when the News is constantly spewing cold matter-of-fact information, we are starved of light-hearted amusement and storytelling.

feature image is Susan Hiller’s ‘UFO’ recitals.

Current Thoughts on Exhibition

I currently have a filmi which i have made to be shown inside a dark space. Ideally, a head installation.

The film relates to the chaos of humans and our rush against time.

For this to be complete, I need to create the space inside which it would be shown

To create this space, I need to have an understanding of the screen sizes I can get hold of.

I also need to improve the piece itself as there aer bits that i do not like i.e. dramatic photography edits and white noise at the end.

do i want it to be viewed by one person at a time?

what’s the effect of this?

for individual viewing, it would be more personal; there will also be a pressure put on the viewer watching it as they may be surrounded by other people waiting to look inside; the longer they wath it, the more aware of how long they are taking they may become. thus, a sense of pressurised time is created in the viewer, relating to my concept of the pressure of time, existent even when viewers enter their sight into the space designed to be a place inbetween times.

Yes, I want it to be a singular viewing experience. in fact, the plan was that the viewer would be transported in this interzon of fluctuating times, so the individuality makes sense because the presence of other humans and the surrounding environment brings the whole situation back to normality.

i also have been collecting recordings of people reciting memories; some more interesting than others, but a few inparticular stick out for me. Halveig recited her visit into beautiful mountains and how it felt. she speaks beautifully, and the french accent is also interesting because it relates to a foreign place. the description of the mountains takes the viewer to this place and you feel how she felt. I feel confident that i will use this recording in my exhibited piece. in the future i intend on doing more works on memory recitals, but i think that for the exhibition, merely using Halveig’s mountain recital will be enough. It will make the piece more interesting to listen to as well as view, while not over complicating it. the way she speaks, you can dip in and out as it is not incredibly intense with content, meaning the viewer won’t have to concentrate too hard. this idea of dipping in and out of memories and therefore anther point in time is relevant conceptually also.

‘Smoke’ Movie Notes

Wang’s film comes alive through its pictures and its many stories, cultivating digression with affection in its superabundance of successful attempts to capture something as volatile as smoke and as weightless as the human soul.”
“Auggie dates and times his photographs, which he asks Paul to take the time to examine properly. We must take our time over the film, too, and watch it carefully: running across the chapter divisions, which may seem somewhat random, is a wealth of nuances and facets of technique so peculiar to screenplay author Paul Auster thatSmokeurges itself upon us as actually being his film. Yet it is the director, Wayne Wang, who has imbued it with the pleasure and intangibility of smoke.  Smoke is a tangible, intense narrative in words and pictures, perhaps a fairy tale played out in the same time frame as Auggie’s Christmas story: from summer to Christmas. If so it is a fairy tale full of little stories from one corner of the universe, a film that opens our eyes to the wonderful variety of the world and the music of chance.—Dan Nissen”
“The fulcrum of the story is Auggie’s tobacconist’s store and in five chapters, named after the five characters of the story, a series of plots unfold that reflect on one another, interweave with one another, and together become the music of the happiest of chances. The characters all are more than meets the eye. The three men, Auggie, Paul, and Rashid (Harold Perrineau), are everyday people, but artists, too. Paul is an author
, but with writer’s block; Rashid sketches; and Auggie turns out to be an artistic soul with the unique photographic project of taking a picture of the same street corner every morning, every day of the year. Auggie has taken 4000 photographs so far, and although Paul thinks they look the same at first, closer examination reveals the rich variety of people, situations, and by no means least, light. This little corner of the universe is replete with stories if one listens properly, and Auggie does so, transforming everyday life into poetry by his almost meditative project. In his photographs people are captured at a specific moment in their own stories, which take place outside the photographs, just as vital parts of the narrative unfurl off-frame and beyond the plot we are following—in the pasts and futures of the characters, for example.”
“It was very important to show that generations of people have congregated over a cigarette, or for the simple pleasure of gossip,” production designer Kalina Ivanov said. That sense of time gone by, which only grows when “Smoke” is seen now, also was a key motif: Mr. Keitel’s salty raconteur harbors an artist’s sensibility, revealed in the 4,000 photographs he’s taken over an 11-year-period, one each morning from a vantage point opposite the cigar store. The black-and-white images evoke vintage Brooklyn, though they were all made in a mere four hours during which Ms. Ivanov meticulously reinvented moments from the 1970s, ’80s and ’90s.”

Extracts from the film:

“words, secrets and tobacco”

“lonely men and a few women who build a little world in the middle of a big city, a world based on sadness, secrets, killing time and enjoying a good smoke (..) it places trust in the power of words: these people talk, weaving pipe dreams into what they need to get by”

dreams, aspirations, memories

these realities which we create inside our heads

the way our lives are changed by small details

notes from film:

“if she had taken just a few seconds longer, she wouldn’t have stepped in front of the bullet”

4000 photos of the same place taken at the same time in the morning.09b08f9945e4c3465ea3f88450664dc9

“my corner” – one part of the world, bu things take place there too, like everywhere.

“you’re going too fast, you’re hardly looking at the pictures. they’re the same but they’re all different” – this idea is like my photoshoot; standing in the same place and watching the world go by. there is so much significance in the details. in the movement of the pigeons which otherwise go unnoticed.

“every day the sun shines of the earth at different angles”

The film is based on how one event rolls into another and escalates.

The man in the film spent a day with a stranger and pretended he knew her (she was blind and wanted to convince herself that he was her grandson), so they spent their christmas in this suspension of disbelief.

how could i use this for art?

  • death – perceived continuation stops
  • the fact that they both spent their christmas lying to the lady but she was happy – is this the most important thing?
  • “and you have your christmas story” – he gained a story out of it. how bad was it to lie? – events lead onto another.
  • if the story was fake, does it matter? so long as you get the story and reveive the happiness from that story. you can believe if you want to.
  • in iPod culture, we create our own worlds. We exist in our heads. Physicality has little importance compared. Reality is all a perception anyway.
  • Event in the memories recited in my art are false, does it matter? Because memories get warped inside our heads anyway, so every time we tell a story it is fiction. However, if reality is all a mental perception, then listeners hear and visualise the story upon hearing it, does it not become another sort of reality?
  • when listeners hear the memories recited from my work, does it not become another memory and point in time?
  • “you’re innocent when you dream”



Michael Bull ‘Sound Moves – iPod Culture’ Notes

“This innovative study by Michael Bull opens up a new area in sociological and urban studies: the aural experience of the social, mediated through mobile technologies of communication.

Whilst we live in a world dominated by visual epistemologies of urban experience, Michael Bull argues that it is not surprising that the Apple iPod, a sound based technology, is the first consumer cultural icon of the twenty-first century. This book, in using the example of the Apple iPod, investigates the way in which we use sound to construct key areas of our daily lives. The author argues that the Apple iPod acts as an urban Sherpa for many of its users and in doing so joins the mobile army of technologies that many of us habitually use to accompany our daily lives.

Through our use of such mobile and largely sound based devices, the book demonstrates how and why the spaces of the city are being transformed right in front of our ears.”

On gothic cathederals vs Citoen D.S.:

G.T. are entered for silent prayer and to listen to sacred music performed. People entered both to pray and be enveloped by sound; enter through their bodies, amplified by great arches of cathederal.

Citroen can be owned and travdelled in; social and physical mobility. enveloping and tactile; leather seats, suspension, sleek and easy to slide through the air effortlessly.

1950’s – hifi sound.

invention of hand held radio/ battery powdered; now a culture of personal mobile sound.

1980’s sony walkman and privatising earphones

21st century: the ipod

in the head and mind, culture redrawn into private and mobile auditory worship.

minituarisation = the whole digital world in your hand; easthetically beautiful; freedom of movement – time woven into a seamless web of controlled sound and space; “the soundtrack to my life in my pocket at my fingertips”; individuality of your dukebox; you contruct your own schedule of life; auditory bubble; focus on feelings, desires to auditoy memories. it is the first time in history that the majority of the masses posses technology to create a private mobile auditory world wherever you go.


the ipod is a metaphor and example of how we increasingly close our ears to the multi-faceted world through which we daily move.

erasure: auditory configuration.

we increasingly use communication technologies to control and manage our experience of urban environment.

ipods, phones and automobiles show the privatisation of western society.

‘mediated urban isolation’ – growing in significance. it is a need to fight against ‘non-spaces’ – places with no historical narrative which alienate humans i.e. shopping centres and parking lots. we now have overpowering resources to reconstruct places we move through. we are increasingly alone together. privatising the street is conditioned by privatising the home – car, t.v., radio.

iPods are privatising, whereas phones fill the city with their own noises, thus privatising it. for many, silence is exclusion (Bauman)

Descartes: “I think, therefore I am”. Nowadays, in iPod culture, it is “i talk and listen, therefore I exist”. Descartes saw identity as something constructed in silence; contemporary consumers feel discomfort when conftroned with silces (Bull, 2000). There is now a greater craving for solitariness but a greater ffear of being socially isolated. These contradictory desires are resolved through mobile social media.

The sounds of mediated we-ness.

Adorn argued that mechanically reproduced music was used as a substiture for the lack of connectivity in modern culture.

Music helps to transcend from a repressive world more fully into the everyday – it provides dreams but also chains in the isolation is creates. There is a utopian longing for what we desire but can’t achieve.

It is an illusion of immediacy in a totally mediated world of proximity between strangers, the warmth of those who come to feel a chill of unmitigated struggle against all.

“The world, threateningly devoid of warmth, comes to him like something farmiliar, as if specially made just for him”.

The social subject is increasingly dependent on forms of mediated company within which to live.

“The man who cannot work without the blare of the radio and the man who kills time and paralyses loneliness by filling his eats with the illusion of ‘being with'”

There is a false sense of companionship through T.V.; an intimacy created with strangers. It is a hallucination of nearness, abolishing distance.


In using T.V. for my final piece, I will be closing this distance between viewers and the foreign points in time/ voices of strangers. Yet the T.V. will be placed at the bottom of a black box into which viewers will have to peer, thus a sense of distance is created and an inability to reach these points in the past and voices from the past referring to times even further into the past. There is also significance in the fact that viewers will be wearing headphones to listen to my piece; isolated into this auditory and visual world made up of different perceptions and points of the world. The viewer will peer into this encompassing blackness to see an isolated view into the past. They will be able to see nothing else and nothing around them; they are isolated.

Further Reflection on Fluidity Film

I currently have a recording of a train journey as the background sound and a selection of mainly black and white photos of a road, each showing different people/ cars passing by. The first number of photos fade in and out of black, slowly. i wanted these to mimic breaths being taken so as to create a calm atmosphere. the aim was that this would eventually get more and more urgent, eventually reaching a hectic speed which would errupt, accompanied by intense fast sound.

i think my film poses a juxtaposition between movement and being stagnant, the audio signifies movemement, as do the subjects of the photographs (moving cars etc), but the stillness of the photos contrat against this. i think that, at the moment, there is too much emphasis on the road. the road is relatively interesting initially but i think that after a while, it becomes repetitive. when the subject changes and the pace quickens, it is slightl more itneresting. i would like i think, for it to be shown using a projector projecting the stills into a box. IMG_1310.JPG

Let The Dust Settle Exhibition

The Let The Dust Settle exhibition was very interesting quite heavily due to the space in which it was exhibited; underneath a church/ in a crypt. it was really interesting to note how the environment transformed these objects/ art pieces. i found the whole show relatively morbid, even though i don’t believe that these art pieces would have been perceived in which a way if they were exhibited in a more stark/ less conceptually loaded space, such as a regular art gallery. for instance, after speaking to one of the artists, i was to learn that the piano that was playing to accompany a film became very eerie in the crypt, whereas it wasn’t so at all in a regular art gallery. the crypt was very atmospheric.

i was particularly drawn to one section/ dome. it was dark and in the shadows, and placed inside was simply a small speaker, through which someone was speaking a child-like transcript. it was like she was saying what the child was saying to her mother in a letter form, without reply. it was quite saddening. it felt memorable of death. similar to the piece of work in which a doll-like creature was “talking” into a facetime camera and not getting any replies due to the poor connection; this consisted of the doll asking questions such as “hello? are you there? i can’t see/hear you?”. with the piano playing in the background from an artwork nearby, echoing down the hallway of the crypt, you couldn’t help but feel sorry for the doll. it posed questions about why no-one was replying, creating a sense of isolation and desperation. there were very thick connotations of mortality. the fact that these voices were being stored underground, in a crypt, was as though they were being hidden or had been forgotten. they were calling out to nobody, just a void. the way the woman had been reading out in a monotone voice what a child had said or written was very nostalgic, giving viewers an insight into another time, a completely contrasting place where emotions juxtaposed against those which were laden in the crypt.

it was like each section was a different segment of a different memory. i like this idea of exhibiting in a walk through space where each room has a different memory/ voice. perhaps i could record someone speaking about alet-the-dust-settle-570x399 memory and present it inside a box, like a form of storage of another time.

Fluidity Film Reflection

My” target=”_blank”>Fluidity Film can be accessed by clicking the embedded link.


Last Thursday, I presented my short film to the crit group. The idea was that I would use a projector to project it into a large hollow oblong box. I wanted the viewers to have to peer into the blackness and see a small screen at the end where my movie would be showing, creating a sense of distance between the viewers and the film, a sense that it can’t be caught, like the concept of fleeting time.

The projector didn’t work and I instead showed it straight from my laptop. This was disappointing, but in the future, I need to ensure that I trial these things before presentation (my idea was a last minute one).

I have mixed feelings towards my outcome. I think the sound piece I created is interesting and complements the concept and images well; I also think the moments where the images flicker in time to the sound piece works well technically, enhancing engagement from the viewer.

There is a juxtaposition between the sound pieces, which present movement of a train and conversations between people, and the stillness of the photographs. The sounds create animation, they present the fast moving nature of time through the way in which this collection of sounds cannot be repeated in real life (without technical adjustment which I haven’t imposed), and the way that sounds pinpoint a very specific moment in time. The way that sounds are constantly in a state of either arising or decaying and so it is constantly in flux, whereas photography is a form of documenting a very specific moment in time, freezing specific people in a specific environment. It is like water against steel; perhaps a slightly uncomfortable contrast. In my Benjamin Walter seminars, I have learnt that photography is comparable to documenting a crime scene. So these two different forms create a contrast between a form frozen in an exact moment, a pinpoint; and a form gliding through an environment and taking all sonic information with it.

However, the sounds and the photographs are not otherwise relevant to eachother. The photographs consist of a photoshoot that I went on where I stood in one place and took many photographs. There are many photographs of a road, showing different people/vehicles etc caught moving past at different times, or photographs of a road and bins at different points, pigeons moving, a corridor with someone hoovering then that same corridor empty, etc. at first, the video is slow and the photographs change slowly, fading in from black for a few seconds, then fading out again. As the film progresses, I increased the intensity of the sound i.e. inserting a thumping sound which quickens in tempo, and the photos change increasingly more rapidly, until they start becoming very distorted and flashing incredibly quickly in a slightly dizzying way. The idea of this was to increase the perception of time and chaos. At the end, the viewer is left with a black screen which flashes white a few times for 0.4 seconds each, whilst white noise plays in the background. I aimed to create a climax of tempo and then present remains.

I think that I took the manipulations too far in some places. 0005840012_10


The above image, I found on the internet. This was inserted near to the end of the film and it worked quite well, unlike some of the images I edited to get the same effect.









Above are two examples of where I manipulated images to create a disorientating effect, an idea which reminded me of how memories can be manipulated in the brain. However, I think that these images come across rather cliché in how they are manipulated. Whereas the image I sourced can be viewed as a technological error. It is also visually shocking compared to the photographs I took. I think to develop, I could perhaps figure out a new way of manipulating images in a less cliché way.

In terms of the sound, I am pleased with how the recordings come out when they are layered together; the conversations which I recorded in the studio echo, merging into the sound of the train but leaving a slightly ghostly effect which suits the idea that these sounds no longer are taking place. I am reminded of the ‘let the dust settle’ exhibition which I visited at The Morgue, in a group of tomb like chambers underneather a church. There were sound installations included which echoed and created a ghost-like effect. The idea of placing my exhibition in a morgue is actually incredibly interesting, given the relevance of death to a place like this, and the link between death and the unstoppable nature of time; the latter causing the former. It would be very interesting to place a sound installation in a place where time or death appears very bold. To continue, I plan on doing lots of research into sound artists and people  who have explored time, such as William Kendridge.

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