Bibliography – Third year

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ANIMA. 2019. [film] Directed by P. Anderson and T. Yorke. UK: PASTEL.

ANON, 2012. Cicada 3301. [Multimedia digital online puzzle/ Alternative Reality Game].

Applewhite, M., 1997. Initiation Tape For Heaven’s Gate.

Baraniuk, C., 2016. Virtual reality sickness ‘tackled with field of view trick’. BBC,.

BBC News. 2018. Who Are Japanese Cult Aum Shinrikyo?. [online] Available at: <https://www.bbc.co.uk/news/world-asia-35975069&gt; [Accessed 5 June 2020].

Bishop, C., 2014. Artificial Hells. [Place of publication not identified]: Verso.

Bottinelli, G., 2001. ‘Igloo, Do We Go Around Houses, Or Do Houses Go Around Us?’, Mario Merz, 1977, Reconstructed 1985 | Tate. [online] Tate. Available at: <https://www.tate.org.uk/art/artworks/merz-igloo-do-we-go-around-houses-or-do-houses-go-around-us-t05755&gt; [Accessed 5 June 2020].

Burrows, W., 2017. Sexual Desire, Pantomime Horses, Cosmic Care Homes… A Weekend Of Weird — Reviewed. [online] Thedoublenegative.co.uk. Available at: <http://www.thedoublenegative.co.uk/2017/01/sexual-desire-pantomime-horses-cosmic-care-homes-a-weekend-of-weird-reviewed/&gt; [Accessed 5 June 2020].

Celant, G., 1989. Mario Merz. Mario Merz Exhibition Catalogue, 1, pp.25, 27.

Cube, C., 2020. Plastique Fantastique | Comics | Performances | Text | Assemblages | Shrines. [online] Plastiquefantastique.org. Available at: <http://www.plastiquefantastique.org/&gt; [Accessed 5 June 2020].

Drabot, M., 2020. Pattern Of Light — Monika Drabot. [online] Monika Drabot. Available at: <https://www.monikadrabot.com/pattern-of-light&gt; [Accessed 5 June 2020].

Evans, C., 2014. Agnes. [A chatbot on the gallery’s website].

Evans, C., 2014. AGNES. [online] Serpentine Galleries. Available at: <https://www.serpentinegalleries.org/exhibitions-events/agnes&gt; [Accessed 5 June 2020].

Evans, C., 2020. NOTES : HELLO. [online] Cecilebevans.com. Available at: <http://cecilebevans.com/index.php/activities/notes/&gt; [Accessed 5 June 2020].

EVANS, C., 2016. Handy If You’Re Learning To Fly IV. [custom-built holocube and HD video with assorted miniatures, Plexiglas stands, corn syrup, lacquer, c-type print, accompanied by a book.].

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Hartney, M., 2017. Cult Leader Insists This Isn’t A Cult. [online] YouTube. Available at: <https://youtu.be/dTG9a5skWCU&gt; [Accessed 5 June 2020].

Heavensgate.com. 2020. Heaven’s Gate – How And When It May Be Entered. [online] Available at: <http://www.heavensgate.com/&gt; [Accessed 5 June 2020].

IMDb. 2020. Midsommar (2019) – Imdb. [online] Available at: <https://www.imdb.com/title/tt8772262/locations?ref_=tt_dt_dt&gt; [Accessed 5 June 2020].

Impakt.nl. 2020. Channel  —   Hyper-Reality | IMPAKT. [online] Available at: <https://impakt.nl/channel/films/hyper-reality/&gt; [Accessed 5 June 2020].

Karcher, D., 2020. The Blair Witch Project. [online] Blairwitch.com. Available at: <https://www.blairwitch.com/&gt; [Accessed 5 June 2020].

Larsson, C., 1910. Breakfast Is Open. [Oil on Canvas].

Lee, P., 2019. The Glen Park Library. 1st ed. No place press.

Lima, F., Del Fiol, M., Pinho, J. and Abramovic, M., 2016. Marina Abramovic + MAI: Terra Comunal – Cleaning The House. [online] YouTube. Available at: <https://youtu.be/CA2QEpbmLWc&gt; [Accessed 5 June 2020].

Lucier, A., 2010. VIDEO ROOM 1000 COMPLETE MIX — All 1000 Videos Seen In Sequential Order!. [online] YouTube. Available at: <https://www.youtube.com/watch?v=icruGcSsPp0&feature=youtu.be&gt; [Accessed 5 June 2020].

Marinetti, F., 1909. The Futurist Manifesto (Aka The Founding And Manifesto Of Futurism).

Matsuda, K., 2016. HYPER-REALITY. [online] Vimeo. Available at: <https://vimeo.com/166807261&gt; [Accessed 5 June 2020].

Merz, M., 1977. Igloo, Do We Go Around Houses, Or Do Houses Go Around Us?. [Metal, stone, glass, putty and electric light].

Midsommar. 2019. [DVD] Directed by A. Aster. Hollywood: A24, B-Reel Films, Nordisk Film, Square Peg.

Mitchell, D., 2016. Ghostwritten. London: Sceptre.

Motionhouse, 2018. Charge. [Dance and projection installation].

Nerdwriter1, 2018. The Crazy Story Of A Real Life Treasure Hunt. [online] YouTube. Available at: <https://youtu.be/3yaHBdhIsCo&gt; [Accessed 5 June 2020].

Notes on Gesture. 2015. [film] Directed by M. SYMS.

Online Converter. 2020. Online Converter. [online] Available at: <https://www.onlineconverter.com/&gt; [Accessed 5 June 2020].

OUCHHH, 2018. POETIC AI. [Digital animation and 136 projectors].

Plastique Fantastique, 2016. Bitcoin Faerie. [Multimedia performance].

Pussy Riot, 2017. Inside Pussy Riot. [Immersive installation and performance piece].

Reactor, 2020. The Gold Ones | Projects | Reactor. [online] Reactor.org.uk. Available at: <http://reactor.org.uk/projects/the-gold-ones&gt; [Accessed 5 June 2020].

REACTOR, 2017. The Golden Ones. [immersive multi-media performance].

Saatchi Gallery, 2020. Inside Pussy Riot. [online] Saatchigallery.com. Available at: <https://www.saatchigallery.com/art/inside-pussy-riot.php&gt; [Accessed 5 June 2020].

Sandberg, A., 2019. An Interview By Alice Karsten With Prof. Anders Sandberg About Technology, Society And Art.

SASRAKU, T., 2019. TANOA SASRAKU LECTURE.

SASRAKU, T., 2020. O’pierro. [Super 8 film].

Schneider, B., 2020. Infiltrating Scientology Ep. 4: College Students React To “Ancient” Scientology Techniques. [online] YouTube. Available at: <https://www.youtube.com/watch?v=o3a2R2nv7Ho&feature=youtu.be&gt; [Accessed 5 June 2020].

Schwitters, K. and Jöhl, W., 1953. Ursonate. [Zurich]: [W. Jöhl et al.].

Straub, K. and Neumann, M., 2017. L O C A L  5 8. [Film].

Straw, R., 2018. 10.05.18 – REACTOR – THE GOLD ONES. [Blog] Reece Straw, Available at: <https://www.reecestraw.co.uk/latest/2018/5/28/100518-reactor-the-gold-ones&gt; [Accessed 5 June 2020].

Syms, M., 2019. Mythiccbeing. [A CHATBOT with control over ANIMATION, IMAGE, AND TEXT].

Syms, M., 2020. Martine Syms. [online] Martinesy.ms. Available at: <https://martinesy.ms/&gt; [Accessed 5 June 2020].

The Blair Witch Project. 1999. [DVD] Directed by D. Myrick and E. Sánchez. Hollywood: Haxan Films.

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VICE, 2016. ‘Dark’ Screenings And Performances Question What It Means To Be Human. [online] VICE. Available at: <https://www.vice.com/en_us/article/ez53qw/dark-water-screenings-performance-video-art&gt; [Accessed 5 June 2020].

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VINCENZI, S., 2020. Operation Infinity. [Website].

VOX Explained: Cults. 2019. [film] Hollywood: Vox Media Inc.

What Our Purpose Is – The Simple “Bottom Line”, n.d. Heaven’s Gate.

Williams, K., 1976. Masquerade. 1st ed. London: Tom Maschler.

WILLIAMS, K., 1976. MASQUERADE. [Book and golden metal rabbit].

YouTube. 2009. Marina Abramović – Presence, Energy And Endurance | Tateshots. [online] Available at: <https://www.youtube.com/watch?time_continue=1&v=UODaRxt8Zuw&feature=emb_logo&gt; [Accessed 5 June 2020].

YouTube. 2018. The Strange Case Of @Thesunvanished – Inside A Mind. [online] Available at: <https://youtu.be/EEUF1EB8_qQ&gt; [Accessed 5 June 2020].

How I would like my current work to be presented in the real world

Recently I have been thinking about how I would like my current work to be present in the real world. Although, I currently don’t have the opportunity to display my work in the real world it’s fun to theoretically think about how I would like my artwork to be displayed.

Suspension of disbelief

I would display the three videos as a triptych, as a triptych is a historically religious way to display work. Usually as an altarpiece, where there is a large main panel with two smaller panels attached like doors on either side. Many art historians suggest this was for portability. Examples of other triptychs include, famously, Hieryonymus Bosch’s “The Garden of Earthly Delights”:

However, this isn’t an exclusively historical way of presenting work, it has continued to be a way of presenting work in the 20th and 21st Century.

Therefore, I would like my piece to echo to the religious past of this way of curating and presenting 3 pieces of work simultaneously by following similar proportions to traditional triptych altarpieces.

(Obviously, if I display this work in a gallery space I would adapt my footage so that it would be better suited to being projected in portrait.)

If I display my work like this in a gallery or dream gallery, I would like to call the piece “suspension of disbelief” as the canvases will be suspended in midair.

Realistically, the canvases that the footage would be projected on would be suspended by metal cables.

However, if I had infinite budget I would use magnets to make the canvases ‘float’ in mid air. By having multiple electromagnets in the canvas, floor, walls and ceiling, one could suspend a canvas in midair with ‘no strings attached’. Like those novelty floating display stands:

While producing these animations I made sure to having the human figures be the same height as actual humans so that I would be able to see what these pieces would look like in relation humans.

The measurements for the boards in the animation above are roughly 3m x 1m x 5m, so realistically I would be able to produce them. I even went into the level of detail of putting in precisely the same measurements as the bench that I made a few months ago.

Far more realistic than the boards in my dream exhibition space which are 26m x 35m.

Obviously the likelihood of this exhibition ever coming to fruition is very, very low. However, since I was producing a realistic(ish) rendering of how I would like my work to be displayed, it wasn’t that much extra effort to produce a dream version.

From Cathedrals to the Great Mosque of Mecca, most places of worship are impressively huge, with the most glorious feats of architecture.

I wanted to capture this feeling of encompassing, sacred, vastness in this presentation of my work. This way of displaying the works, makes the piece seem absolutely monolithic. This dream exhibition space would have to be so big to accommodate these 35m tall canvases that it would have to be displayed in some massive arena or disused factory. Given enough budget, I could even do an arena tour!

In addition, the lighting that I would actually use in an exhibition like this would be different. It would be more dramatic, like this:

(I would have produced an animation using this lighting but the shadows made it difficult to key out the colours neatly.)

Adding to the sense on awe I would like the audience to feel while looking at this piece. Using the lighting to throw even larger shadows, making these already large canvases seem even larger and more dominating. Making the audience a sculptural part of the piece as well. Since their bodies will cast shadows around the piece. Which could be read as the audience being inadvertently part of the piece and inadvertently part of the cult.

In addition, low lighting tends to make things feel more sinister and villainous. Which I think would compliment my work well.

GRRR White walls

I just wanted to mention this:

Personally, I’m against white wall spaces as I consider them unimaginative. The only reason why I displayed my artwork in white wall spaces in the animation above was because I lazily didn’t change the rooms from their default colour in Blender.

By which I mean, I didn’t want and don’t want this work to be displayed in a white wall space. The animations above are an illustration of how those works would be placed in a space; how it would be laid out. Not that these pieces belong in a white wall space. As mentioned above, I would love huge canvases that I project onto to be hung in a disused factory or arena. Alternatively, I would like this piece to be displayed in religious/ex-religious locations like The Crypt Gallery in Euston or in technologically significant places like Silicon Valley.

Applying for a job for a large film CORPORATION

I applied to this job online one night on a whim. Not expecting anything from it. Yet low and behold a month or so later I receive a reply calling me to an interview. I was surprised and very pleased as you would expect. A sudden fear struck me as I try for the live of me to think of what I wrote on my application. I very vaguely remember that there was a written hypothetical as part of the application process.

What did I write? Is this position even payed? Did I save anything from this application? Holy hell, I’ve done so many other applications to many other places. I really could have said anything and the question they asked me could have been about anything too. When does the job role start? Does it overlap with the completion of my studies? Why didn’t I document any of this information?!

After some frantic googling, I discovered that a lot of the information for this role was still up on LinkedIn, thank god! That the last time I don’t take a screenshot of a job that I’m applying to for future reference.

Okay, great, now let’s find what my response was to that question and with little to no effort I find the word document that I sent them. Oh gosh, I lied about having watched a film that they produced. What would I do that? Stupid question. I know why I lied. With all of the entry level jobs that I’ve recieved, I have applied to them as quickly as possible. Speed seems to be the name of the game. Which is why I’m signed up to so many mailing lists. I simply didn’t have the time to apply to this role and what the film. Which means that yes, I will have to watch this film befoe I go to the interview.

This interview was originally due to take place on 17th March. However, due to plague, the interview was postponed by almost 2 months!

In that 2 month period, I again, forgot about this apllication. I assumed, since I didn’t hear form them for about a month and a half that I just hadn’t recieved the role. But…

Ping!

An email from this company saying that I had an online interview with them on 6/5. Sweet! Oh hang on, I can’t remember a thing about this job! Again!

By this point it was roughly 4 months since my original application. Luckily, I had written down all of that information I had forgotten previously. Brilliant! Thank you past me!

So I have the interview, it seems to go well and I’m feeling quietly confident about it. I get a response a week later saying that I’m though to the next stage.

For this stage (which was the final stage, well done me!) I had to do a presentation according to a specific brief. I’m fairly confident with presentation and public speaking and I have very little issue with it. I had one week to prepare and produce this presentation. The day comes, I present to the best of my capabilities.

2 weeks later I response: “unfortunately…” Rats! I thought I did well, but alas someone did better! Some bloke who did tonnes of research received the role. To which I thought, ‘Fair enough, he deserves it’. I didn’t do as much research as him. He had actually budgeted what he was proposing in his interview. I hadn’t. To be honest, I wouldn’t know where to start with budgeting projects as I haven’t needed to thus far in my career. So fair enough. This experience made me realise that that is a vital skill I need to learn and that I need to take screenshots of the jobs that I apply for.

The low resolution-ing on Youtube – quarantine is breaking the internet

It seems like a clickbait title but it is true! The high volume of users on YouTube has caused the site to drop it’s standard quality:

YouTube is far from the only company reducing streaming quality to try to lessen broadband strain. Netflix has reduced its bitrates in Europe to ease up its streaming platform’s burden on broadband by 25 percent… As more people work and learn from home, concerns about stress being placed on broadband networks continue to grow. 

https://www.theverge.com/2020/3/24/21192384/youtube-video-quality-reduced-hd-broadband-europe-streaming

My tutor brought it to my attention that my videos seemed to be playing at a lower than usual resolution. The low resolution-ing is that I found out about a few days prior in a podcast. At which point I thought ‘christ, this is actually going to affect my work and my submission.’

What am I going to do about it?

On the one hand, I could upload my work on Vimeo or directly onto the SUBMIT website as they haven’t been effected by the low resolution-ing. My work will be played in the resolution that’s it’s intended to be seen in.

On the other hand, the low resolution-ing is thematically in keeping with SUBMIT’s dogma. It’s not often that you get offered an amazing opportunity to demonstrate SUBMIT’s will.

This seems like too much of a golden opportunity to pass up. Therefore, I am going upload the videos to YouTube as planned and have links to those on the website. I will also make the high resolution videos the backgrounds on the pages of the SUBMIT website as I outlined in my post “how I would like my current work to be presented digitally.”

Working for arts temps

For almost a year now I have been assisting at events throughout the UAL campuses. My roles have included art handling, ushering, catering, selling merchandise and setting up stalls. Including having worked at the House of Lords and handling works by Antony Gormley.

What I have enjoyed about working for Arts Temps is that every job is different and with a different group of people. So there’s never a change for the work to get boring as it’s always new. This variety has shown that I am very adaptable to different environments and groups of people.

It’s been annoying that there have been so few Arts Temps jobs over the last few months (obviously), I just hope that I get to do few more.

Another positive about Arts Temps is that you can continue being a temp after you graduate. I intend to do exactly that as additional cash is always nice and the jobs tend to be good fun.

Refining PROEM//POSTLUDE

If you are wondering what my process of producing Proem//Postlude, that can be found below.

https://karsten27.com/2020/05/04/process-for-producing-the-first-version-of-proem-postlude/

The post above chronicles my journey to the video below.

This video took ages to make as predicted in my ‘digital degree show plans‘ post. Without being cliché, the journey in fact had only just began.

Degradation 1, 2 and 3

[^^^ You will find above a link to a post that explains the development throughout this series of videos in further detail.]

My idea behind these videos was to produce a piece that slowly deteriorates throughout by progressively compressing each section of the video more and more. Causing the final section of the video so be so corrupted that the footage was barely legible.

This final video caused havoc, as I felt as though I was over the whole compression idea. I felt like it was a shame that people wouldn’t be able to see or appreciate the amount of effort and that I had put in to producing this video. As mentioned in my post “Degradation 1, 2 and 3“

The way that I messed with the final section was by distorting and warping the footage. I really like this effect, possibly even more than the effect that the compression has on the footage. Which has thrown me into a dilemma.

Degradation 1, 2 and 3

The refinement

The cleanness of this footage is appealing to me more than the pixelated footage of the Degradation series. As mentioned before, I was really worried that I was becoming to tied to the concept of devolving footage, and was loosing a lot of the great small things that where happening with the video. That’s not to say that I regret making the Degradation series; I’m glad that I tried that so I know it’s not what I want and now I’m able to move on from that idea.

Also, I discovered the time echo effect! This is great and feels very 80s. Although, I think I’m going to use this in Exodium//Introspective instead of this piece. As sticking to one effect at the end of the video would probably end up being the most effective. ‘Keep it as simple as possible, and no simpler’.

The final product

Part 1 and 2 are clean and the third part is digitally fucked.

I’m glad that the start of this video is clean. This way the audience can appreciate the amount of time and effort I have put into producing this footage. I feel as though this allow the artwork to breathe a bit.

Now all I have to do is attach title cards to this piece, and I think it will be done. Could it possibly be?!

How I would like my current work to be presented in the digital realm

I have been using the SUBMIT testing site to work out the following:

a) whether all of my digital pieces look good together

b) how I would want to display my three key films online

I am not going to talk about curating the virtual showcase that we are having later on in the year, as we (the students) will have very little creative and curatorial control over how our artwork is presented.

option 1 – layering the videos

https://k4rsten.wixsite.com/website/cataclysmic-glorious-ideation

option 2 – Masking

This type of masking adds another potential level for glitching. It’s visually interesting but is very impractical considering all of my videos have text in them and it will be difficult to read the text with these masks. I just wanted to point out that it is something that I have explored. If you would like to see what it’s like in action you can find the page here.

https://k4rsten.wixsite.com/website/option-2

While playing around with various masks I discovered that you can produce a mask from any vector ever. This was fun to play around with but still hugely impractical for the videos that I am presenting.

I also played around with coloured masks which ended up being a bit naff. I think the quality of my video far exceeded the low resolution filter that they apply.

I’m not going to lie though, the heart one is kind of trash in all of the best ways. I like how shit it is, but that’s just me and my questionable aesthetic. I know that putting that on my final piece is just as tasteless as spray painting Godzilla on the side of Windsor Castle. (Okay possibly less tasteless than that.)

option 3 – imbedding the videos

https://k4rsten.wixsite.com/website/option-3

I have already used this on the real SUBMIT website and I think it looks the most sleek and integrated. What I like the most is that you don’t get the red YouTube play buttons. I kind them very aesthetically nightmarish.

http://k4rsten.wixsite.com/submit/our-work

It’s completely fluky that I used this way of presenting my work on the real SUBMIT website, it was selected without much thought. However, now having explored the alternatives this does genuinely seem like the best option so far.

option 4

https://k4rsten.wixsite.com/website/option-4

Putting the video as the backgrounds. From the cults point of view this is subliminal messaging. Another opportunity to further engage potential members in the website. In addition to putting the videos as the backgrounds of the pages, they will also be found in their entirety on the “Our Work” section of the website.

Reminiscent of MARTINE SYMS‘s website. That website subverts your expectations of how you think that website is going to function, as all of the text is behind the images. Functioning as wall text, but digitally.

In addition, there’s an aesthetic logic as everything is in keeping within the same colour palette. This colour palette is inspired by the colours used in Inside Pussy Riot, Plastique Fantastique’s rituals and Hyper-reality. A mixture of primary colours, pastels and neon colours.

I decided to divvy out the films to pages in the following way:

home = Introspective
Reasoning: This is the start.

how to become a member = introspective
Reasoning: This is the introduction and so is introspective.

our answers = nucleus –
Reasoning: The page is about how to be a good member and so is nucleus

our work = Postlude
Reasoning: Postlude is the last video in the series and since this is one of the places where the series will be presented, I feel like it makes sense for the last one to be the background.

scripture = nucleus
Reasoning: This page is an example of present worship and so is nucleus.

members = postlude
Reasoning: once you’re able to see this page you are already indoctrinated and you are already a member, which means that I feel as though postlude is the most applicable.

In conclusion, I’m using both option 3 and option 4 as I would like people to be able to browse through my videos, as well as not so subtly include them on all of the pages on the website as the backgrounds.

The process of producing and refining PROLUSION//NUCLEUS

Script

This script was based on the rituals performed by SUBMIT members. It was partially written by me and partially written by AI. This allowed the content to go slightly of piste and become more surreal. I wanted this script to have more technological (AI) involvement as I felt as though the other pieces that I had been writing had been very thought through, worked and control. I wanted to produce a written piece where I surrendered some of the control to another entity.

The first video

After producing this video I realised that the subtitles flash up on the screen slightly too quickly for people to read, so I slowed it down by 80%. The resulting video can be found below. Which actually got flagged by YouTube as a scam, twice!

Similarly to the script, this performance was based on the idea of the individual performances of devotion that members of SUBMIT would do.

The video slowly censoring itself, as to not reveal all of the secrets to SUBMIT members rituals. With the plan to comment on religious censorship. However, my feedback about this piece was that the pixelation was very unsatisfying and doesn’t really read as a comment on religious censorship. I was perhaps trying to force a concept too hard.

The ending is of a member finishing their ritual by removing disks from their eyes. I thought that this would be a very symbolic way to end the video. As the member is removing the thing that’s blocking their vision, but you aren’t allowed to see what they end up seeing once they have removed the disks. In the same way that when cult members leave, they get cut off from the cult. So that the people in the cult don’t find out about life outside of the cult. So that they don’t become enticed to leave as well.

On the other hand, the natural conclusion it seems to be heading to is one of illegibility, so the shot of the person’s face could seem like a bit of a distraction. So I was unsure whether to keep this ending.

Tutorial

Feedback:

• I should put my brother’s bit at the start instead of at the end.
• It was really successful when it only pixelated slightly. But DON’T push it further
• This video is the most successful when it’s ambiguous whether or not it’s the viewer’s computer or the footage.

The second video

I decided to make a change. I have recently been working on Exodium//Introspective and when I returned to working on Prolusion//Nucleus it felt lacking in comparison to the other 2 films that I have produced. So I decided to start again from scratch (in terms of the footage, not the text).

When going through my old blender files from a month or two ago, I discovered that some of them had corrupted. (I still don’t know why they were corrupted and I’m kind of slightly worried about it. ) I thought that footage from me exploring this corrupted virtual world would be something SUBMIT would want. This thematically works better than the footage that I used in the previous video.

The colours in this footage is reminiscent of the Hyper-reality colour palette and the juddering nature of this footage also reminds me of the projections used by Reactor in their piece ‘The golden Ones’.

I moved the text to the middle and made it larger. The text works much better in the middle of the screen. This text feels more engaging this way, and forces the audience to pay attention to it. It’s bold and confident. The pacing also means that the audience has some time to appreciate the footage.

I added title cards and made the ending better. I added in stuttering warning messages at the end. So that it’s as if the console that you are watching this film on is crashing. If I were to present this film in a gallery, similarly to ‘the golden ones’ by Reactor, I would produce a 10 hour edit where the film continuously reboots and crashes.

I’m proud of this video and I think this is it. I’m very aware that I’m the sort of person that likes to fiddle with footage and try to refine and refine what it is that I’m going to present, but sometimes you just have to stop. I am happy with this video and I will present it as part of my final piece.

exodium//introspective Final video

This piece is a development of my first version of EXODIUM//INTROSPECTIVE and the script for this piece can be found here.

This piece was produced after I had done the Degradation series, and you can tell because I decided to ditch the effects, and keep the footage clean. After the revelation that ‘keeping it as simple as possible and no simpler’ is the best way to go. I don’t want to loose the definition of this footage, as a lot of effort has going into producing it. I don’t want to fall into the trap of keeping too close to the concept, to the point where it’s actually detrimental to the work that I am producing.

At this point in producing my work, I realised that I had to work out what the footage wanted to do, what was the best way for the text to be presented. What did this piece want to say? How to I avoid suffocating it?

These were all things that I was considering when editing this piece, which is why it ended up becoming so drastically different from the first video.

For example:

• The font was changed to a cleaner one
• The text was placed in the centre of the film and made it larger and more easy to read
• No effects where used on the footage.
• Gaps where there was no text on screen were introduced. Allowing the audience to meditate on the footage of the giant technology.

As I mentioned before my idea for this footage was that it was going to be mediative about technology. This ethereal camera floating through this wilderness filled with technology. The contemplative nature of this footage was inspired by the piece, “Handy if you’re Learning to Fly IV” by Cecile B Evans. Now that this footage is clean and has no effects applied to it, I feel as though it demonstrates this idea more effectively.