Ara3e11aAnnotation

Everything I did not write (either Lau or Nina) is in italic^.

Someone/something walking out of a cave, gives the feeling of walking, of creeping around a corner.

It was made during a visit to Sussex with my friend/fellow artist Bevis. We took this footage on a Saturday in November, overcast and a short day (in terms of light).

The image strikes up something in me, perhaps dream/nightmare like. Otherwordly. The way a camera moves on a gimbal hints towards the act of walking but not quite, such it is uncanny. I enjoy this, being caught between the human and non-human. It opens up possibilities.

I am looking for 'feeling' or 'mood' first and foremost. Often working in a feedback loop way rather than the traditional script to shoot to edit. I've come back with footage that has informed/changed the direction of the script. The texture and movement in the images yields narratives and new layers.

What also interests me is the moral dilemma that contemporary hacker's face and comparing this to the history of smuggling and specifically to smuggling that took places along the Sussex coast in the 1700s.

While shooting I did not propose many limits or plans, perhaps I would ask Bevis to explore an area I found interesting but nothing too specific. The only element I was certain on was that we were trying to create images that were 'timeless', in that they couldn't be tied down to a specific time in (linear) history. I wanted no notions of the 'modern' in the images we captured/caught.

Beckett, Waiting for Godot and his screenplay. Laura's workshop and our conversation about non-linear/new approaches to narratives. Chris Marker, both Sans Solei and La Jette. Tokarczuk, particularly the narrative 'shape' of Flights. I was reminded of 'The Lighthouse' whilst shooting, not the Plath but the Eggers film.

I wrote a script and a prose piece before filming. The script more play like. The prose (post Laura's workshop) opened me up to writing from a 'non-human' perspective, in this case from the perspective of 'The cave. The hole in my heart. The hole in the cave.'. It also made me realise that I was exploring places where people hide, so hiding became a theme.

More writing, and recording. I will record the writing and make a sound piece. The footage, although the quality is not the best, has inspired a new layer which I want to write from. The process from now on will be a mixture of compiling, writing, re/shooting, recording and editing.

I want to build up to a crescendo.

In this scene we move from one place of hiding to a place of exposure, that is the major change.

Gather more footage, and sound recordings. Stayed longer and developed the script alongside shooting, allowing the images to feed into the writing into re/shooting, and repeat.

Feelings of the clandestine. To uncover something that has to be hidden. This excitement of exploring. The notion of being hunted. A way of expriencing time which is non-linear. And, on some level although this is not a feeling, I want it to be informative.

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Notes Lau:

what: I'm trying to create these feelings of clandestine. To uncover something that has to be hidden. This excitement of exploring. The notion of being hunted.

how

why:

part of a larger project, the moral dilemma’s that were put on smugglers,

what:

smugling country 1780’s, caves to smuggle goods. Narrator asks questions

Choices:

Annotations Lau:

I wanted to catch a sense from being in another time. I just liked it visually. It is almost like a hole in a screen.

choices forced by nature, only could go there for 45 minutes, shot on a phone and a gimble. Only a couple of shots that I wanted.

Came before:

A lot of research and reading

Very influenced by playrights and novels. 'Waiting for Godot' - Samuel Beckett. I was really influenced by Laura's workshop, especially the day when we talked about the Chris Marker film and the narratives. I wrote a prose-piece after Laura's workshop. The hole in my heart. The hole in the cave. It made me speak from a non-human perspective. I'm exploring places where people hide. Hiding became a theme. This really influenced me.

Came after:

Use this footage, keep working it, work it with 3D gathering

Question generator:

What would you change:

I would like to stay there for a week. I would have just stayed there.

I would stay there for longer. Better camera. And lights. I would have recorded sound a bit better.

I'm always interested in looking for images that strike people, but they don't know why. They evoke a certain feeling before thought. That's always what I'm looking for when making an image. That image revokes a mood that I will put in the piece.

It will start from this cave and then it will touch bigger themes. We will change from a narrative. There will be creciendo in the piece. And eventually it will evolve in a bigger project.

After Affects. 3D compositing. Need to develop the script. It's gonna be a larger work.

NINA'S? WORK?

Nina:

what:

rehearsal scene, assistant of scenographer, Oslo national theatre

Bjornson - beyond our power

bad situation, february, the first time after the war, nobody could get into norway, the production designer couldn’t come

footage was more there for memory. It’s collaborative.

the role of the scenographer is quite big.

Before: we started with a workshop, but covid came. Now still waiting.

Psychodrama: a reflexive form of art

After:

https://pzwiki.wdka.nl/mediadesign/Methods30-11-22