decasia- film exploiting the decay, manipulation of film

Decasia is a film (2002) by Bill Morrison, featuring an original score by Michael Gordon.

interview posted above here from youtube

...both decay of life and rebirth....new from old...exchange..

more here in BFI review

have ordered the film and think it will be very relevant in seeking alternative ways to push the temporality of photography. how about using the acid techniques explored in the film for people to destroy photographs they no longer want? or here, the video recording of the change in the image as it disappears/corrodes- possibilities for projection?

sonic illuminations proposal- King's Cross lighthouse

here's the outline of the idea for the proposal;

Kerry Andrew and Harriet Poole Joint Application to Sonic Illuminations

overlooked
a helter-skelter history of the King’s Cross lighthouse

Most people, heads down as they fight their way across Gray’s Inn Road and Pentonville Road in the jostling heart of King’s Cross, won’t notice it: on top of a thin curved building sits a derelict lighthouse. Bizarrely out of place, it is a genuine mystery; there is no record of who put it there, when and why. Suggestions have included that it was erected by 19-century teahouse or oysterhouse owners who once plied their trade beneath, or that it was a clocktower, a camera obscura, or even a helter-skelter salvaged from a local funfair.

We propose to produce a 5-minute film/sound/performance event that explores both fictive and real histories of the lighthouse and its immediate area, using a mixture of historic and contemporary film and photography techniques, live and recorded vocal music and sound design. The piece would begin by introducing the lighthouse with interweaving stories, both from real suggestions and fantastical, invented ones. A middle section would turn to today: we would go to the site and interact with the transient community there, filming them, showing them the lighthouse and recording their thoughts on its purpose. We would also use traditional and digital pinhole images of contemporary King’s Cross in response to the camera obscura idea. Finally, we would film the development of the pinhole photographs, and as they swim in liquid, the contemporary ideas and stories would overlap, disperse, and transform into an sonic evocation of the sea. This project would be a development of our collective interests in storytelling and myth, social engagement and site-responsive work, combining vocal (spoken and sung, live and recorded) looping, playing on the musical qualities of speech, and potentially including a live art aspect. We would be keen to work with the Camden Historical Society in investigating the area and lighthouse further.

(in)visible exchange EEC performance 24 may 08- reflections, thoughts and comments

hello

thanks to everyone that came into the little room behind reception, and shared their stories.

i would like to invite people to comment on here, and to open the work up for discussion to help inform the future development of my work. if you would rather email me, please email me at harrietpoole@gmail.com.

here are comments left in the book on the day (thanks very much);

"really well thought out concept-very powerful-esp with the developing of the photograph, sending it on is a nice touch also-v intimate, natural style which was good. not sure about the girl guide story and shred the compliment slip- that made me feel sad. v good though."

"it reminded me that the barriers of intimacy and the personal can easily fall away. our 'stories' and what is personal to us is quite similar. ('us' meaning human beings.) wasn't prepared for having an address though or something that meant something to me. the piece is heavily reliant on the 'audience' member."

"yes you're right! sometimes you just have to let go and not hold onto things. the 'moment' eh?! thank you!"

"thank you that was lovely! very personal and heartfelt. made me remember my childhood and its awkward and wonderful moments!"

"why d'you shred the compliments slip? i am looking forward to finding out what [the young recipient of the photo] thinks- might be freaked out. i liked the new additions- just query the shredder bit-but the dislocatedness quite nice."

"I enjoyed sharing bits of stories. the whole process was intimate....i was temporarily shocked when my image got shredded, i had written it with so much love. but the package and envelope looked very nice, and made up for the previous disapointment."

"the shredding was nasty, almost how bad she felt when the girls laughed at her on the bench."

"what an emotive, intriguing piece.the shredding somehow made me feel like there is a unity in us (humans) regardless of backgrounds."

sonic illuminations proposal- photos of site visit- King's Cross lighthouse

sonic illuminations is a competition for sound artist/composer and filmmaker to make a 5 minute piece exploring the history of King's Cross, to be presented at the opening of King's Place Arts centre in October. some info on the lighthouse is here- urban75 website, plus flickr site. we went to the camden local study centre archives and found an illustrated article entitled, 'A light at King's cross,: The 'lighthouse' building: fantasy and fact,' by David Hayes, in Camden History Review, Vol 23 (1999) David Hayes is part of the Camden Library Services. the article give a good survey of the known and guessed history of the lighthouse, similar 'follys', suggestions about it being a camera obscura (hence why i like this site!) helterskelter, dispensary, lookout.



the fish and chip shop maybe found in a lighthouse's normal seaside location

EEC initial thoughts on revisions to (in)visible exchange in response to site

summary of key thoughts arising form photos/ experiences at the site;

the site-kitchen/post room

• the room has different functions and uses- on the door it says kitchen but it is used as a place to make basic drinks- tea or coffee, some remnants of food seemingly past its best (pushes mortality aspect!) , wine in fridge, items serving foyer, post room
  
• on the door it says keep closed but during the day it is open and it closes at night. its a tight squeeze in the room with the door closed- very intimate- creating a den of conversation, possibly suggesting office type gossip- an exposed room now becoming private
  
• only light source in room once light switch off is form the window in the door- minimum blackout required
  
• post room pigeon holes- temporary storage of external and internal post- ideas about using memos/ envelopes/post it notes, sending the photos onwards? label one pigeon hole external post? when i ask participant what they want to do with the photograph- offer them an envelope and who they would like it addressed to. enclose SAE or put sender details on the back?? how to avoid people writing anything about it- possibly asking them to complete a with compliments slip OR a memo, which i then shred?
• room layout- microwave takes up a lot of room-move to one side?
• maneuverability round room, where to stand with participant- by sink? use table? i like standing- reinforces the temporary nature of being there- not getting comfortable
  
• like the cupboards- reinforces the internal becoming external like the pockets- opening the doors to find the apparatus?
• secret biscuit tin- reinforce the secrecy at work- stealing biscuits from colleagues - make it look like this and offer participant a biscuit? or simply offer and open the lid as found- responding to contents- is this going too far/losing focus?
  
• pushing images under door- wouldn't work as can't be seen here and could interfer with the security person's job- give participant the photo and ask them to dispose of it saying there's a bin outside
• putting image on wall of gallery in the nunnery- this space is a foyer- a fluid space- like the case opposite of recommended books and the leaflet and book stands...possibility of usher/receptionist mounting the image in a photo album, very carefully, and putting on a stand on reception?
• hang drying cloths on the drawer handles?
• use signage on reception to give information about the show being in low light/crampt space- A5 stand?

the actual performance sequence- avoid things competing for attention- one thing at a time to hold focus on right element at right time?

here's the original description of (in)visible exchange at nunnery

A storeroom closet full of mops, tools, and ladders, within an art gallery had been modified slightly to accommodate becoming a temporary photographic darkroom in low light. The small closet was chosen as a place of intimacy or privacy, like a child’s den or an inventor’s secret workroom. People individually entered through knocking on the door, and were invited inside. Personal stories were shared through objects from the artist’s own pocket, and if the participants wanted to discuss, their own pockets. The objects were laid onto photographic paper and exposed and developed in a keepsake box which was opened with a key; they surfaced fleetingly through a photogrammed trace of the object,but the images were not then fixed, as is usual photographic practice. This was intended as a dual narrative with the stories momentarily shared. This performance culminated in marking this fact through the ultimate ‘death’ of the photographs created; there were options including for the image being either displayed, still seen as photographic prints on the gallery wall, or to emerge pushed out under the door as a relic of the performance. Two strangers, the artist and the participant, then leave one another taking away with them only their memories of the exchange as the images, attacked by light, continue to dematerialise and become entirely invisible in their final location.

potential modification?- first thoughts - in red;

A kitchen/postroom, full of postage items, crockery, kettle, cups, mop, etc behind reception of the foyer of the university arts building will be modified slightly to accommodate becoming a temporary photographic darkroom in low light. The small kitchen/postroom was chosen as a place of being a temporal stopping place- people passing through- a quick convenient cup of tea, grab your post, storing foyer used items, like a space to have a quick tea break, private moment away from the hubub of the external foyer, gather your thoughts- the security guards outside however are stationed permanently there. People are to individually arrive for their appointment at their alloted time, reporting to the usher on the reception desk, signing in on a sheet. The artist will be inside and knock to let the usher know they are ready. The participant is then asked to knock on the door, and to be invited inside. Personal stories are to be shared through objects from the artist’s own pocket, and if the participants wanted to discuss, their own pockets, this is through being laid out onto the work surface first and then sharing stories. The objects are then laid onto photographic paper and exposed and developed in a cash box which will be opened with a key; they surface fleetingly through a photogrammed trace of the object,but the images are not then fixed, as is usual photographic practice. This was intended as a dual narrative with the stories momentarily shared. This performance culminated in marking this fact through the ultimate ‘death’ of the photographs created. Two strangers, the artist and the participant, then leave one another taking away with them only their memories of the exchange as the images, attacked by light, continue to dematerialise and become entirely invisible in their final onward location. There are options of throwing the image away in the bin under reception, forwarding it on in the post pigeon holes, or displaying in a photo album on display on the desk in reception, assisted by the usher/receptionist. The participant signs out and leaves.

hmm, needs considering further.... plus how this work supports my MA show development...

EEC Site visit photos- PART FIVE- provisional choice of site for (in)visible exchange

storing items for use in the foyer- health and safety apparatus

locked section behind the tiles...


storing signs used in the foyer, dustbin under the desk

switches and such

biscuit tin in cupboard, labelled 'magic me biscuits!'

pile of saucers

empty glasses


fridge contents- some doesn't look too fresh...




coffee jar, salt packet, cups and saucers, very sparse


nothing matches- functional


drawer parts don't open. place to store cloths to dry the photos?

EEC Site visit photos- PART FOUR- provisional choice of site for (in)visible exchange

radio there- fits in with nunnery version. like the domestic kettle- have a cup of tea with gossip, conversation

things put where fit- high up out of way

looking out from the room

room is officially a kitchen. door wedged open


also a post room- fits with temporality- a temporary store for post awaiting collection

layout/manoeuvering round space


all the keys!


space for usher posed as receptionist

torn out A4 ruled paper giving info to security guards if asked for this information



pigeon holes for all the departments in the arts building- external and internal post.


policies and procedures written and laminated on the door

EEC Site visit photos- PART THREE- provisional choice of site for (in)visible exchange

reception through to room behind. leaflets on display in stand on desk

phone, sign in/out sheet for visitors, newspaper



health and safety alert stickers

notice board- empty

EEC Site visit photos- PART TWO- provisional choice of site for (in)visible exchange

the reception area- a place where people (visitors, employees, students) need information such as changes to rooming for lectures, directions to a room, show staff/student security passes


reception desk- a common curved shape coming out from a room beyond


lots of health and safety signage, fire and security alarms- bold graphic imagery, flashing lights

seated area behind a curved wall


opposite reception- art work framed, toilets

display cabinet of recommended course books


curved white wall opposite recepetion- display opportunity?

information on freestanding display unit right as you walk into entrance