Last year screendance artist Katrina McPherson asked Owa Barua, Natalia Barua and me to be involved in a project that explored ideas to do with archives, memory, dance and film. We ended up making We Record Ourselves.
These last few weeks we’ve been working on an edit to be screened on the MediaWall at Bath Spa University starting on Thursday 8 June 2017.
This is a new version of We Record Ourselves specially edited for the Bath Spa MediaWall. The edit sustains the key themes of the original versions (remembering, forgetting, archives and dance) while exploring the possibilities of the scale of the MediaWall and the transient nature of its audiences.
The MediaWall edit is below but watching it here won’t be quite the same as the full scale version (more than 7m high)!
In 2009 I made a short film called Anamnesis with Cormac Lally, Bagryana Popov, David Corbet, and Liz Jones. Around that time I asked Marika Rizzi to do an Italian translation of the text in the film. I remember the translation process to be quite challenging as the differences between English and Italian tested my understanding of the film as I knew it. In the time since Marika did the translation I’ve been learning Italian and it is fascinating to recognise the choices she has made in making the poetics of the film make sense in Italian. A simple but important example is her choice to use the ‘you singular’ form in Italian (tu) as opposed to the ‘you plural’ form (voi) – a distinction that does not exist in English.
I’m not long back from Ferness in Scotland where I had the pleasure to work with Owa Barua, Katrina McPherson, and Natalia Barua on a screen project responding to the Margaret Morris archive. We’d done some initial testing in March this year when we developed a type of performance-screen-camera practice. This second development time was an opportunity to gather more materials but also figure out how we might edit the work together (and apart).
We made two things: an 8 minute single screen (dance) film, and a 22 screen installation.
Here’s the single screen film:
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. https://creativecommons.org/licenses/by-nc-sa/4.0/
We Record Ourselves was commissioned by Horsecross Arts for Threshold artspace, and acquired for the Horsecross Arts collection of contemporary art. Premièred as part of Movement exhibition, 15 Oct 2016 – 15 Jan 2017 at Threshold artspace, Perth Concert Hall, Scotland. Movement: an homage to Margaret Morris in drama, dance, music and film; curated by Iliyana Nedkova and Wendy Timmons.
Still from 22 screen installation.
Tomás Saraceno, On Space Time Foam.
I happened across this work by Saraceno in Jonathan Marshall’s review of PSI 2016 for Real Time.
Previously I’ve posted links to Windows and MacOS copies of my practice-as-research PhD project Indelible (2005). For people using Intel versions of Mac computers (roughly post 2011) the interactive component of the project does not work. I’ve been wanting to update the code for nearly 6 years and have now stopped imagining that this will happen.
Instead, I’ve made two video screencasts of the interactive component:
- A brief (6 minute) tour or sample of the materials: https://vimeo.com/177367460
- A complete (84 minute) video of all of the materials: https://vimeo.com/177368823
This video documentation of interactive material probably compromises the integrity of the project, but it seems important that there is some way for people to have access to the work.
Let me know if you have any questions.
Excerpt from “From the Sea to the Land”, with music by British Sea Power. I really love the man stage right.
This is a short video showing Papers Citation software automatically formatting the references for a book chapter in real time. Prior to this I chose the citation style (in this case APA) and that’s it. I don’t really understand why academics and students don’t take a little bit of time to learn how to use citation software.