The first of which involves a paranormal activity cult who use their somewhat speculative equipment to sense activity in the area in which the installation is based. Having approached our character, they identify some of the symbols on the blueprints through the doorway of the space. Apprehensive and paranoid he shuns them and they leave. After some considerable time obsessing over their ability to answer the questions he has over the blueprints and thus, the machines, he decides to head back out to their camp which he had previously visited and scouted from a distance (unseen). When he returns to the camp he discovers that they have committed what appears to be a mass suicide in the style (but not scale) of the jonestown massacre. He takes some photographs of the scene, which he will go on to print later in his personal darkroom, gathers their equipment and heads back. He uses their research and devises to gain a supposed understanding of the third blueprint and builds the transition machine.
The footage we'll take and the different media we use will define the different perspectives on the event which will be fragmented across the installation in different forms. The super8 loop will consist of a quick pan down and across the group all face down, dead, a brief, uneasy moment which could be seen to represent a lasting memory the character has of the event. The 110 photographs printed about postcard size will be shots taken by the cult members whilst in the camp and will form part of the research / material he takes from the scene; these will all be informal, natural and amateurish to try and reinforce this. The black and white 35mm will be a much more literal account of what he finds when he returns to the camp, shots he has taken, developed and printed himself (in the darkroom built into the space).
This will all be woven together using text and sound clips, such as the final speech of the leader etc to form a more complete sense of narrative through exploration of the space. This also creates a link between our last installation Waiting Room and our current work, a kind of much further developed version of the snapshot available before; this is not too important but it is nice to develop older narratives through the continuation of new work.
The second side-narrative will make the link between the text-still image based research and a literal application of the vietnamese '3' myth. We intend to use a short loop of three individuals, perhaps a sequence of different sets of 3, and scratch out the middle characters face in each.
The VHS and other sound pieces are still up for discussion.
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