We have shot a few different sequences and may end up using one or all of them in some kind of montage, this will become clear when we get the footage back on Friday the 14th of May, allowing us enough time to edit and loop the films.
Friday, 30 April 2010
Super8 handed in for processing
We delayed the processing of the Super8 film so we could shoot some more 'three' sequences of three people standing together that we can loop and scratch out the middle persons face on the film in relation to the research on vietnamese myths.
Tuesday, 27 April 2010
Welded work
Having finalised the designs for the machines and worked out how we want the mechanisms to work, I handed over the job of welding us some windscreen motor attachments to Dave Grover in the metal workshops. He has performed this task for us before but with different applications and always seems to come through for us. On the half-bike wheel for the praxinoscope he has made an attachment for the motor to drive the crank and welded some metal guides for the chain as the tension tends to fluctuate. It should now just be a case of getting the tension in the chain right and making last minute tweaks to have it running smoothly and consistantly.
The other attachment for the cam shaft is a more simple procedure and should work with relatively little fuss.
We have also discussed the welding of the transition machine tower, we wanted to do it ourselves after some tuition but he thinks it would be best to let him get on with it which isn't all bad. We've ordered the metal rods for the construction which should arrive early next week so we can submit final measurements and allow him a few weeks to knock it up.
The other attachment for the cam shaft is a more simple procedure and should work with relatively little fuss.
We have also discussed the welding of the transition machine tower, we wanted to do it ourselves after some tuition but he thinks it would be best to let him get on with it which isn't all bad. We've ordered the metal rods for the construction which should arrive early next week so we can submit final measurements and allow him a few weeks to knock it up.
Monday, 26 April 2010
Black and white printing
Me and Faysal have spent the day printing the black and white 35mm roll from the shoot in the dark rooms. They all came out really well with a few surprises, we pretty much printed all of them although there are a few that we will not use; one image in particular where 3 / 4 of the image is consumed with darkness and only the treeline above the bodies can be made out could be used to suggest a paranormal end to the cult!! They came out really contrasty and we didn't assign much formality to the border of the prints to emphasise the amateaur processes of the characters own dark room work.
It is pretty exciting to see the first result from the shoot coming together and a good step towards the finished installation. In a similar way to the processing a few days ago, it was great to be back in the dark rooms printing which I haven't had much time to do in ages.
It is pretty exciting to see the first result from the shoot coming together and a good step towards the finished installation. In a similar way to the processing a few days ago, it was great to be back in the dark rooms printing which I haven't had much time to do in ages.
Sunday, 25 April 2010
Black and white processing
As the uni only processes colour photographic films, it was up to us to process the black and white 35mm roll ourselves. I used to be pretty good at this in first year and do it on quite a regular basis but having stepped back into the processing rooms for the first time in a few years, it didn't exactly flood back.
After much indecision, I decided to process the film and although it didn't exactly go seamlessly, much to my relief it worked and we didn't lose the film. It all came back to me in the end and was a good opportunity to re-learn the skills of processing film before I graduate from Uni.
The negatives themselves all look pretty good on the lightbox and I can't wait to get in the darkroom and print them now.
After much indecision, I decided to process the film and although it didn't exactly go seamlessly, much to my relief it worked and we didn't lose the film. It all came back to me in the end and was a good opportunity to re-learn the skills of processing film before I graduate from Uni.
The negatives themselves all look pretty good on the lightbox and I can't wait to get in the darkroom and print them now.
Saturday, 24 April 2010
Shoot - 21 / 04 / 10
We started really early to make sure all costumes, props and food was ready for when the extra's arrived, we booked a room in A block to use as a changing / green room for the morning. After a short nervous wait, we had 6 extras and Davey T turn up (plus we planned to use ourselves face down too). He really looked the part, we set about getting everyone into appropriate costumes then all headed up with the props to the location in the woods.
As soon as we arrived we set about setting up the shoot, I dressed the set and sorted out props whilst Andy made tin foil hats and Faysal started shooting slides. When everything was ready we placed the actors and set up the first shot with the super8; after agreeing on the angle / tempo of the shot, Faysal and Andy joined the bodies face down to be a part of the frame. I shot a number of different takes before shooting some of the black and white 35mm. At this point I switched roles with Faysal so he could take another series of takes and shoot some more 35mm while the scene was set.
Having got what we needed for the first part of the shoot, we set about organising little set up shots all shot on 110 in an informal manner, we all had a 110 camera each and worked quickly to capture what we needed from the different scenarios and from different angles in an intentionally amateur style. Confident we had everything in the can we needed we wrapped the extras and finished with a recording of the final speech from the leader. We probably won't end up using this as Daves voice wasn't exactly suitable but was good to capture none the less, the other elements of the shoot appeared to go really well, the 110, super8 and b&w 35mm will all hopefully look great. Now it is a case of getting it all processed and printed.
As soon as we arrived we set about setting up the shoot, I dressed the set and sorted out props whilst Andy made tin foil hats and Faysal started shooting slides. When everything was ready we placed the actors and set up the first shot with the super8; after agreeing on the angle / tempo of the shot, Faysal and Andy joined the bodies face down to be a part of the frame. I shot a number of different takes before shooting some of the black and white 35mm. At this point I switched roles with Faysal so he could take another series of takes and shoot some more 35mm while the scene was set.
Having got what we needed for the first part of the shoot, we set about organising little set up shots all shot on 110 in an informal manner, we all had a 110 camera each and worked quickly to capture what we needed from the different scenarios and from different angles in an intentionally amateur style. Confident we had everything in the can we needed we wrapped the extras and finished with a recording of the final speech from the leader. We probably won't end up using this as Daves voice wasn't exactly suitable but was good to capture none the less, the other elements of the shoot appeared to go really well, the 110, super8 and b&w 35mm will all hopefully look great. Now it is a case of getting it all processed and printed.
Monday, 19 April 2010
Pre-shoot preperations
Having agreed on the direction of the major side-narrative, we have organised a shoot for the 21st April, we need to get this done ASAP as the film takes 2 weeks for processing.
We have secured an actor from Starnow who fits the role of cult leader pretty well (Davey T.), so we are attempting to gather up appropriate extra's who have the desired look. As it is only a short shoot we will hopefully be able to gather enough people (5 / 10) but everyone is extremely busy at the moment. We've got some costumes picked up for free at the carboot which will work including a fetching suit for the Leader himself and i've secured the super8 camera that I know works well from my minor project.
We have also collected the props together that we will need, including making some 'paranormal sensing' contraptions, which will all eventually end up as part of the installation / transition machine.
The location we have scouted is in the mystical forest the otherside of northwick park hospital, we found a great clearing with a compound wall in the background and huge cut logs in the foreground which will be great for the scene. Weather forecast is good, we are all set to go.
We have secured an actor from Starnow who fits the role of cult leader pretty well (Davey T.), so we are attempting to gather up appropriate extra's who have the desired look. As it is only a short shoot we will hopefully be able to gather enough people (5 / 10) but everyone is extremely busy at the moment. We've got some costumes picked up for free at the carboot which will work including a fetching suit for the Leader himself and i've secured the super8 camera that I know works well from my minor project.
We have also collected the props together that we will need, including making some 'paranormal sensing' contraptions, which will all eventually end up as part of the installation / transition machine.
The location we have scouted is in the mystical forest the otherside of northwick park hospital, we found a great clearing with a compound wall in the background and huge cut logs in the foreground which will be great for the scene. Weather forecast is good, we are all set to go.
Sunday, 11 April 2010
Narrative development
As we were discussing possible side-narratives to express within the installation we came up with some ideas that we intend to convey using the media like super8, cassette/magnetic tape and photographs.
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.
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.
Monday, 29 March 2010
Professor James Lovelock
I saw a pretty interesting and relevant documentary about this Lovelock professor who has made huge contributions to science and our understanding of the world by turning his back on the scientific institutions and working from his homemade laboratory in a devon country cottage.
One of his most noted and controversial contributions is the theory of Gaia which proposed the planet as a self-regulating entity with the capacity to keep itself healthy by controlling the chemical and physical environment. He has made many other huge contributions to human knowledge over his career... all from his little homemade lab in devon. He is definitely an eccentric chap, the kind of visionary that can channel his eccentricity and passion to make new discoveries and change beliefs... proving you don't have to be working for major scientific institutions to do so.
He really struck a chord with the idea of our own character in his own space being left to his own devices (although ours is based around a more obsessive belief in more speculative subject matter). Good stuff professor.
One of his most noted and controversial contributions is the theory of Gaia which proposed the planet as a self-regulating entity with the capacity to keep itself healthy by controlling the chemical and physical environment. He has made many other huge contributions to human knowledge over his career... all from his little homemade lab in devon. He is definitely an eccentric chap, the kind of visionary that can channel his eccentricity and passion to make new discoveries and change beliefs... proving you don't have to be working for major scientific institutions to do so.
He really struck a chord with the idea of our own character in his own space being left to his own devices (although ours is based around a more obsessive belief in more speculative subject matter). Good stuff professor.
Thursday, 25 March 2010
Collection at home
As we were having problems attaining the kind of key materials we need to build the structure of the machines out of I went back home to Somerset to try and hunt some down in breakers yards and farmers fields.
I have managed to get a big square, metal tank that will be perfect for the boot machine, an old oil drum potentially for the praxinoscope machine (although Andy has sourced an old boiler which sounds promising), an old TV ariel which looks good, a standing metal cupboard and lots of other bits that will be useful.
Bringing my car up with the stuff for two weeks so we can move everything in when we get the space.
I have managed to get a big square, metal tank that will be perfect for the boot machine, an old oil drum potentially for the praxinoscope machine (although Andy has sourced an old boiler which sounds promising), an old TV ariel which looks good, a standing metal cupboard and lots of other bits that will be useful.
Bringing my car up with the stuff for two weeks so we can move everything in when we get the space.
Saturday, 20 March 2010
VHS loops
So we spent a day on the VHS loop tests to try and discover how feasible it would be. They did not go too well, the problems we encountered were with the temperamental nature of the technology, if something isn't exactly right then they VHS players just eject eject eject. This was frustrating, very fiddlely and proved to be too much trouble for what its worth. As a result, we have decided to use long-play 8 hour VHS tapes for the duration of the installation instead which is not a bad compromise.
Thursday, 18 March 2010
Machine mechanisms
We've been thinking about the designs for the mechanisms involved in operating the machines. For the boot machine we are going to be using an age old camshaft system applying the same principle effectively as what drives the pistons up and down in any engine (below).
As the two cams will rotate on the rod attached to the windscreen wiper motor, the hitters that strike the boot machine will be pivoted back before falling when the cam rotates past its peak (there will be a big drop to have a sudden release movement unlike with the piston example above which requires a smooth transition). These two cams can be adjusted so that the hitters strike the tank at different times and tempos (relative to the size, shape and positioning of the cams).
As the two cams will rotate on the rod attached to the windscreen wiper motor, the hitters that strike the boot machine will be pivoted back before falling when the cam rotates past its peak (there will be a big drop to have a sudden release movement unlike with the piston example above which requires a smooth transition). These two cams can be adjusted so that the hitters strike the tank at different times and tempos (relative to the size, shape and positioning of the cams).
For the praxinoscope I have devised a plan to use the backend of a childs bike (crank, chain and wheel) which will be mounted on its side and driven at the crank by a windscreen wiper motor. This will in turn drive the back wheel, spinning the praxinoscope barrel mounted on top. This not only should look great within the installation but give us a smooth and reliable movement.
For both devises, 12v windscreen wiper motors will be used, the boot machine also requires a motor and spool to lower the microphone into the water from above.
Tuesday, 16 March 2010
Blueprints *updated*
With some further research I have discovered that there is a new Cyanotype chemical mix that you can buy called 'cyanotype sensitiser' available HERE which sounds promising.
More details on the old / new processes of Cyanotyping can be found HERE including useful tips on the kind of paper needed etc.
I have also been reading about the possibilities of staining the prints in the production of the prints with green tea, bleach, coffee and urine amongst others which sounded interesting.
Sunday, 14 March 2010
Weekly schedule
To help progress the project at this tender stage without a space to work within, we have started to devise weekly schedules to organise our workflow and up the intensity. We will hopefully be doing this everyweek from now on, atleast until we are building within the final location. This weeks scheduled tasks are as followed:
Schedule: 13 – 19 of March 2010
Sat 13.03
Wimbledon 09:00
Sun 14.03
Woolwich 11:00 + Compile PDF + Brick Lane
Mon 15.03
UNI 10:00 – 18:00 VHS loops (Email Woolwich)
Tues 16.03
UNI 11:00 – 19:00 Exact machine designs + blueprints (Email Rich Simkins)
Wed 17.03
Wellcome Collection Library 12:00 – 20:00 Shoot plan / Narrative / Research *BRING APPLICATION FORM*
Thu 18.03
Andy at work, Day off
Fri 19.03
UNI 12:00 – 18:00 Praxinoscope prototype / Tutorial 3:00 / Plan next week
The blueprints
I've been exploring the history and the process of blueprints as they are a vital material we need to attain, initially our thinking was we would try and find / buy some or produce our own designs on a different but appropriate material (this may still be a good option). However, the more I have been reading, the more appealing the idea of producing our own original blueprints in the authentic manner with which they were once created.
Blueprints were traditionally made using a cyanotype photographic process involving a reaction between two chemicals, potassium ferricyanide and ammonium ferric citrate. You soak paper / cloth etc in the solution then expose it to sunlight (UV) through a large format negative with the design on or expose it like a photogram and place the design onto the paper to block out areas of light to form an image. The chemicals expose to the light will turn a deep blue colour and the areas unexposed (the design) will remain white, the print is then rinsed to removed the water-soluble chemical traces and leave the non-water soluble chemicals.... and you should be left with a white print on blue colour paper!
Cyanotype Print ^
Authentic Blueprint ^
This is all really interesting to me and would pose an exciting challenge to us which could leave us with some highly authentic and fantastic objects. I don't know how feasible this plan is yet, the design has to be fully drawn up for each machine and i need to check the chemicals are easily available (in uni hopefully). Although this would take some time and some testing, it is a relatively simple age old photographic process and given the importance of the blueprints to the narrative and the emphasis placed upon them in the installation, the extra time and effort to produce them could be well worth it.
Blueprints were traditionally made using a cyanotype photographic process involving a reaction between two chemicals, potassium ferricyanide and ammonium ferric citrate. You soak paper / cloth etc in the solution then expose it to sunlight (UV) through a large format negative with the design on or expose it like a photogram and place the design onto the paper to block out areas of light to form an image. The chemicals expose to the light will turn a deep blue colour and the areas unexposed (the design) will remain white, the print is then rinsed to removed the water-soluble chemical traces and leave the non-water soluble chemicals.... and you should be left with a white print on blue colour paper!
Cyanotype Print ^
Authentic Blueprint ^
This is all really interesting to me and would pose an exciting challenge to us which could leave us with some highly authentic and fantastic objects. I don't know how feasible this plan is yet, the design has to be fully drawn up for each machine and i need to check the chemicals are easily available (in uni hopefully). Although this would take some time and some testing, it is a relatively simple age old photographic process and given the importance of the blueprints to the narrative and the emphasis placed upon them in the installation, the extra time and effort to produce them could be well worth it.
Wednesday, 10 March 2010
Woolwich location search
We've been down in Woolwich after contacting the town centre manager who told us to send him details of buildings we think are abandoned and would be suitable. We're putting together a comprehensive file of possible abandoned buildings we could use to build our installation into. We found loads of potential places that would be great it is now just a matter of hearing back from him.
I'll upload the .pdf we'll sent him here soon, it is going to look really great so hopefully our professional and enthusiastic approach could help us finally secure an abandoned space.
I'll upload the .pdf we'll sent him here soon, it is going to look really great so hopefully our professional and enthusiastic approach could help us finally secure an abandoned space.
Sunday, 7 March 2010
Recording VHS
Using one of the VHS cameras we bought at the bootfair that smells slightly of urine and that can only be described as grimey, we have finally managed to record some test footage onto tape. Initially when me and Andy were sorting through the cameras and assessing their use we didn't have a recordable tape to try out. I managed to get hold of one earlier tonight and me and Faysal tried it out:
The colours and distortion are really nice, it is recording sound (albeit quietly) and I think it could be really effective for what we need. The main draw back is that we can only shoot indoors with it because the batteries are dead and needs to be run off mains power but I think this will be the case with 80% of the VHS cameras left out there from what I can tell.
This feels like an exciting development anyway, we grew up with VHS and it definitely took me to a rather nostalgic place, it has such charm despite being such a sub-standard and degraded medium by todays standards.
The colours and distortion are really nice, it is recording sound (albeit quietly) and I think it could be really effective for what we need. The main draw back is that we can only shoot indoors with it because the batteries are dead and needs to be run off mains power but I think this will be the case with 80% of the VHS cameras left out there from what I can tell.
This feels like an exciting development anyway, we grew up with VHS and it definitely took me to a rather nostalgic place, it has such charm despite being such a sub-standard and degraded medium by todays standards.
Carbooty
We're deep into our collection period and this will continue for the majority of this project really. Every saturday morning we will be heading down to Wimbledon carboot which has proved itself to be the most reliable and consistant of all the carbooties.
We'll ofcourse carry on scavenging from skips / flytips / markets in addition but our main source of props and materials will be the carboot over the next few months.
We'll ofcourse carry on scavenging from skips / flytips / markets in addition but our main source of props and materials will be the carboot over the next few months.
Little action, big sound
We've been testing the underwater recordings for one of the machines using a microphone inside a condom to waterproof it. It sounded great with very little effort, the sound created (although it doesn't translate so well in the video below) is impressive and just what we were looking for; we are hoping that it will be even better with a greater water mass, larger speakers and a more forceful metal striking instrument.
This was a successful test.
This was a successful test.
A grand day out
In an effort to collect some interesting materials and start adding some intensity to the project we scoured a couple of miles of a really cold and miserable Thames river... the wrong side of the Dome. We found some interesting bits on the bank with the tide out and met an awesome old carpenter known only as 'Dad', we also attained some useful metal box tubing which we can use as legs on the machines from two old guys in a metal workshop.
We also found some nice abandoned buildings opposite this old derelict bridge jetty which we are planning to follow up. It was a hard, dirty day and we were totally unprepared, we clearly need to invest in some good, tough, waterproof gloves for the kind of dirty collecting we are undertaking at times and bring suitable, strong bags in which to carry heavy objects. Andy would have been the better prepared for the task if he had worn his wellies, alas he thought we were going to laugh at him... in the end we laughed at him for not bringing them.
We also found some nice abandoned buildings opposite this old derelict bridge jetty which we are planning to follow up. It was a hard, dirty day and we were totally unprepared, we clearly need to invest in some good, tough, waterproof gloves for the kind of dirty collecting we are undertaking at times and bring suitable, strong bags in which to carry heavy objects. Andy would have been the better prepared for the task if he had worn his wellies, alas he thought we were going to laugh at him... in the end we laughed at him for not bringing them.
A week written off
I have been really busy in the last week Gaffering on Doug & Co's major project film so the blog hasn't been updated in a little while but it was a really good experience. We have been working on collection mostly and some testing in the time since I last posted and will now work through the backlog of information in the next few posts!
Sunday, 21 February 2010
Wellcome Collection
Henry Wellcome (pictured) was a pretty interesting chap himself, who built up a monumental collection of objects on the history of medicine and man, with strong interests in anthropology and ethnography. The subject matter varies hugely and ranges from stuff like alchemy to witchcraft in what can only be described as a cabinet of curiosities (or Wunnderkammer).
It is the most relevant exhibition to our project I think we could hope to find, the relics on offer not only pay tribute to different belief systems in their sometimes obscure, obscene and fantastical nature; but also pay tribute to a true visionary character in Henry Wellcome. If the downstairs gallery exhibition concentrated on 8 identities, the upstairs, through the fake limbs, mummified bodies, bosch paintings and medical instruments explores the identity of the original collector. It is this narrative through the collection and research of extraordinary objects and beliefs that is a model of the highest relevance to how we will conduct our own research and convey a sense of character through it all together.
We will be returning to the Wellcome collection library which houses many more texts, photographs and research that we didn't have a chance to explore on this original visit. Below is an animation made by the Brothers Quay that explores and documents many of the items in the collection to get a sense of what is on offer... enjoy.
Animate Projects - The Phantom Museum - Watch more Videos at Vodpod.
Website???
One of the things I think would really benefit us would be a website, not only for promoting our major project but also displaying our previous work. One resource that we could send people to, to see all our work and our intentions for major etc. This could help us in finding a space and promoting our work at a later date, this would also meet the requirements for our Professional Launchpad module in a useful application of the brief.
This is something I would like to explore in these early stages of production, it may not be accomplishable in the time available currently.
This is something I would like to explore in these early stages of production, it may not be accomplishable in the time available currently.
Public liability insurance
We always knew we would need insurance to cover our use of the space in allowing it to be open to the public as we planned, it was clearly one of the biggest concerns for the councils who got back to us so I tracked down Andy Powell who informed us of the third-party public liability insurance of the university that will cover our project and anyone who enters it.
This is fantastic news, not only is it free but it is also hassle free and has a cover letter available on blackboard we can now attach to emails to show we are serious, professional and organised.
Thanks to the university we are covered for up to £30,000,000 with a £250 excess, this should help us secure a space. We will have to be really careful with the type of materials and electronics involved to keep everything safe but things will get a little crazy i'm sure...
Responses to Emails
We have received a good amount of responses from our first wave of emails, including some positive feedback from our previous work which was nice (most of these can be seen on Andy's blog HERE and HERE). Despite this, there is only really one response that looks pretty promising in securing a space through the council avenue. We have secured a viewing with Wandsworth Council for an old derelict chapel just across the river in South London. Its condition means there is no electricity supply but the description of the place sounds exciting (smashed windows, over grown etc). As the space would hopefully be free, buying and running second hand generators which we could sell on should easily fit within our budget for the location.
This could be a really great opportunity, the viewing isn't until march 9th so we will continue the search until we know any further details, it is by no means certain we could secure it.
One of the things that has been coming out of these emails is the strong interest in our insurance and liability cover, we will need to arrange this in order to secure a rental on a place, especially through the councils as it is one of their most prominent concerns.
This could be a really great opportunity, the viewing isn't until march 9th so we will continue the search until we know any further details, it is by no means certain we could secure it.
One of the things that has been coming out of these emails is the strong interest in our insurance and liability cover, we will need to arrange this in order to secure a rental on a place, especially through the councils as it is one of their most prominent concerns.
Monday, 8 February 2010
Kinetica Art Fair
Kinetica Art Fair was a major influence in our work last year and helped introduce us to the technology involved in our projects, I went again this year with a much better understanding of the type of work involved and the problems with it. I am much more sure of the work I like and the work I dislike now, a lot of the work proved to be more of a spectacle than interesting but there were some standout pieces that really I really enjoyed.
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All these pieces were particularly relevant to the work we are doing in some way, Nik Ramage's boot kicking the wall piece is really similar in style and nature to one of the machines we had planned... although ours will be kicking a bucket of reflective water with a microphone submerged but it is a good reference point visually. Other work involving projections and extravagant movement were also useful to check out / evaluate mechanisms and methods. I will research the artists that proved most relevent to our project in more depth from Kinetica to contextualise our own work further.
Contacting councils and organisations for help in finding a space
Following on from our initial plans to find an alternative space to build the installation in, it is clear that the earliest approaches need to be to the councils and other collectives / organisations that we believe have the potential to assist us.
We sat down together after the major project briefing session and kicked off this process by drafting emails to all of the major councils and collectives deemed potentially productive.
These included:
Hackney Council
Tower Hamlets Council
Wandsworth Coucil
Lambeth Council
Camden Council
Brent Council
Southwark Council
Lewisham Council
www.measure.org.uk
Each email was individualised and gave a basic summary of our intentions and requirements. We mostly accessed the council through their arts / culture divisions and are now awaiting replies!
We sat down together after the major project briefing session and kicked off this process by drafting emails to all of the major councils and collectives deemed potentially productive.
These included:
Hackney Council
Tower Hamlets Council
Wandsworth Coucil
Lambeth Council
Camden Council
Brent Council
Southwark Council
Lewisham Council
www.measure.org.uk
Each email was individualised and gave a basic summary of our intentions and requirements. We mostly accessed the council through their arts / culture divisions and are now awaiting replies!
Pre-production feedback and reflection
Having received feedback on our pre-production processes and subsequent dossier, it has given me a much greater sense of confidence in the project we have devised and in what we are trying to achieve; now we need to do everything we can to build upon this and develop the project further.
One of the criticisms highlighted in the feedback was the hesitancy in some of our responses during the oral assessment, I feel as the project develops and we get further into the production phase, this confidence in our decision making will improve massively. Making decisions within the group dynamic we have established, has in the past, been extremely beneficial to the final work. When we spend more and more time on the project in the coming months and a physicality to the initial ideas is obtained, I feel confident we will make the right decisions and take the right actions en route to the final piece.
One of the criticisms highlighted in the feedback was the hesitancy in some of our responses during the oral assessment, I feel as the project develops and we get further into the production phase, this confidence in our decision making will improve massively. Making decisions within the group dynamic we have established, has in the past, been extremely beneficial to the final work. When we spend more and more time on the project in the coming months and a physicality to the initial ideas is obtained, I feel confident we will make the right decisions and take the right actions en route to the final piece.
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