History and Theory of Digital Arts Project

This work Temporal Space film stemmed out from a collaborative work I was involved in “They’ve Taken our Ghettos”, around themes of regeneration in Woodberry Down Estate, Manor House, London which resulted in two exhibitions one in Tottenham, and a central exhibition within the PunkArt space at Rebellion F

Festival, Blackpool 2015 and a book.

The research process for a series of etchings I created for these exhibitions entailed documenting over a two year period photos and videos of Manor House, which resulted in several hours of footage in different stages of demolition and construction of the estate.

Temporal Space focused on the collision of old and new architecture, inhabiting the same transitional space with the latter engulfing, overpowering and finally obliterating the old.

The reason why I made the work was to capture the transitional phase of the old and new architecture existing although uneasily, but also to depict the nature of conquest with the old being erased.

Tools used were JVC HD digital video camera, Final Cut Pro for editing and Logic for sound.

Originally I had planned a two screen projection for the Container Space, juxtaposing films of existing blocks with their demolition, but due to the elongated shape of the container I abandoned this idea as both films projected together would have been really small and lost impact. In contrast moving the projector to door of container formed a projection, which filled entire container and due to its shape distorted across the sidewalls and ceiling, giving a kaleidoscope effect, but one that was more immersive and gave the viewer a feeling of being engulfed and part of the building site.

When shown in a confined space it changed context, apart from being immersive and overpowering, highlighted progress at the cost of the local community.

What I learnt was when filming a large amount of footage to use stop, start technique (similar to Jem Cohen) to capture what I wanted, also gives a choppy effect, adding a sense of movement within the work and hyper realisation, intensification of the subject. Originally I was going to add a soundtrack to the film, but instead decided to capitalise on the crescendo effect of the different sounds, by mixing increasing volume in parts, and adding reverb and echo effects or in places delays and then double tracking to emphasise explosive effect.

 

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