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| The writing is divided into two interlaced scripts.
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| 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.
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| It takes place in a city much like Rotterdam, mainly in the bowels of a very large handling warehouse by the docks.
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| The second script reflects on some of the theoretical issues that the first script evokes.
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| These include the materiality and distance of images, the subject-object relationship, vernacular and coding, affect and the virtual, liveness and incipience.
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| It uses images at certain points, but never as a direct illustration.
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| The first chapter, 'soft artefacts', concentrates on the relationships between objects and bodies.
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| This is reflected in the first script by the viewers seeing different interelations of these things, accompanied by very physical manifestations of sound.
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| The second chapter, 'speech filters', moves on to discuss the voice, specifically songs and improvised speech.
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| 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.
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| 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.
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| This incorporates a rising level of feedback generated through the development of a personal authorial voice.
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| Through the writing i want to explore the different types of agency that an image has in its relation to text, and how a voice can emerge to speak though it with its own vernacular.
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| Essentially I want to understand if something that is distanced can be reanimated and made present through a consideration of its levels of materiality.
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