|
|
| (8 intermediate revisions by the same user not shown) |
| Line 1: |
Line 1: |
| The writing is divided into two interlaced scripts.
| |
|
| |
|
| The first script uses descriptions of a selection of video clips to reconstitute a fictional live experience for an unspecified group of viewers, narrated by an individual.
| |
| It takes place in a city much like Rotterdam, mainly in the bowels of a very large handling warehouse by the docks.
| |
|
| |
| The second script reflects on some of the theoretical issues that the first script evokes.
| |
| These include the materiality and distance of images, the subject-object relationship, vernacular and coding, affect and the virtual, liveness and incipience.
| |
| It uses images at certain points, but never as a direct illustration.
| |
|
| |
| The first chapter, 'soft artefacts', concentrates on the relationships between objects and bodies.
| |
| This is reflected in the first script by the viewers seeing different interelations of these things, accompanied by very physical manifestations of sound.
| |
|
| |
| The second chapter, 'speech filters', moves on to discuss the voice, specifically songs and improvised speech.
| |
| Consequently, in the first script, the scenes viewed by the group start to become less involved with things and more about what is said around them, even beginning to involve them directly.
| |
|
| |
| Over the course of the writing, there is a gradual change in focus from what is seen to what is said, from physical material through the image to its dubbing, from the concrete to the live.
| |
|
| |
| This incorporates a rising level of feedback generated through the development of a personal authorial voice.
| |
|
| |
| Through the writing i want to explore the different types of agency that an image has in its relation into text, and how a voice can emerge to speak though it with its own vernacular.
| |
| Essentially I want to understand if something that is distanced can be reanimated and made present.
| |
Fine Art Wiki