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Presentation for mFest'09 by Jackie Calderwood


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Presentation for mFest'09 by Jackie Calderwood

  1. 1. Moving image: Creating conversations across place and community mscapeFest „09, Fontys 25th November 2009 Jackie Calderwood PhD Research Student: Institute of Creative Technologies, De Montfort University, Leicester Resident: Pervasive Media Studio, Bristol Founder Member: Strata Collective, Somerset
  2. 2. Work with Moving Image and Pervasive Media: • e-merge_a filmmaking mediascape Commissioned for innovation programme, Birds Eye View film festival, ICA, March 2009 intro Funded by ACE (National Lottery), supported by Pervasive Media Studio, The Royal Parks Public walks in St James‟s Park, films & traces on web. Also Sandpit*10, Southbank Arts Trail, Workshops with Wiltshire College, Worle School • Ambience Commissioned by Bristol Festival, supported by Watershed and Pervasive Media Studio, Sept 2009 UGC: Open call for films, mapped into mediascape with public event (PDAs) and resulting films on location via large format projection. • Soundlines Current educational project with Strata Collective - to April 2010 Sonic mediascape, with film and web, as a tool for engagement with sssi local landscapes and the human journey through time.
  3. 3. E-merge poster
  4. 4. e-merge_a filmmaking mediascape E-merge intro Filmmaking by walking, for a public audience Urban/rural Collation and re-presentation on web Intention for gallery/public space parallel playback
  5. 5. E-merge: Films in the park
  6. 6. Theo
  7. 7. E-merge website
  8. 8. Feedback at Birds Eye View: “Fun!” “Intriguing” “Unusual and interesting” E-merge evaluation & feedback “The mediascape was fantastic; this was my second visit as it was so brilliant the first time. It is really inspirational.” “E-merge was a lovely and memorable way to enjoy the park!” “Appreciated the way in which the music and headphones cut me off From my surroundings in order to make me more fully appreciate them!” “Supportive environment for women; innovative; mediascape made the familiar strange - which was wonderful!” Online Survey: “The music allowed me to focus on my surroundings more; when watching the films online some visuals in the park became more focused; I actively took different routes when walking to see the results.” “It was nice to have the opportunity to watch the film after the experience … like a home video.” “It was a really inspiring experience which made us think about the park both spatially, teleologically, and temporally. The mediascape brought out concepts of the park in both time and space (photographs and maps). ..the right balance was struck between the artistry of the footage and the flexibility of this footage as the building blocks for the construction of the personal narrative of ones film.”
  9. 9. Old Park Images
  10. 10. ”The main interest of the mediascape is in the way it explores visual memory. It implies that the way we build up a mental picture of a place is not topographic but defined by incident. When I now try to picture St James‟s Park, I see neither a map nor the view from a particular spot; I see the preening swan or the passing cars from Jackie Calderwood‟s videos. This is perhaps the overriding impression left by the mediascape: a confrontation with the total subjectivity of our perception. Easily acceptable as a philosophical principle, it is much more disconcerting in a practical demonstration, not least because it highlights the impermanence of our mental picture. I suppose that if I were to visit the park enough times and walk through it along enough different routes, a ll these new memories would be overlaid until my memory of it become more objective and less linked to specific occasions. It also implies that if we remember a place in terms of the incidental observations made there, a Alexander Starritt, a-n review subsequent absence of those things would make it a different place in our minds. Since my memory of St James‟s Park is now built around swans and cars, a park without swans and cars would, at least in my personal visual memory, no longer be St James‟s Park. Perhaps it is this that explains the profound a lienation we often feel when returning to a well known spot after many years. The incidental, superficial changes that we notice make us feel as if we have somehow landed in another place, not the one we knew and loved, but somehow another, occupying the same space. And it is for this reason that a greater temporal dislocation would have been an interesting addition to the mediascape. The inclusion of videos from other seasons or, even better, from the time when the park was used to graze cattle, would have heightened that sense of subjectivity, of the fundamental unknowability of a place, which remains even after the park is forgotten. It is this, combined with the realisation that our places must die with us, that allows Calderwood‟s mediascape to elicit a feeling of profound transience, a feeling that nothing, nowhere, will ever be the same again.” Review of e-merge_a filmmaking mediascape by Alexander Starritt, March 2009 Published on artist newsletter interface
  11. 11. E-merge in 4 locations
  12. 12. Sandpit
  13. 13. Clodagh and constance quote - scrawling „Location sensitive media leads us to „scrawling‟ on our physical environment as a way of articulating and sharing itineraries and spatial stories that might otherwise be invisible within that public space.‟ Clodagh Miskelly, Constance Fleuriot (2006) Layering community media in place. Digital Creativity Vol.17, No. 3, pp. 163-173
  14. 14. E-merge Worle
  15. 15. e-merge at Worle School: 2 day intensive workshop Process at Worle Year 10 students •E-merge (London) remapped to schoolplaying field •Stimulus for reflection •Create content - photos, audio, video (editing) •„Welcome to Worle‟ - play on entry •„Worle Students‟ e-merge‟ •2 x Primary visits •Discussion between student groups
  16. 16. Reflections (year 10): London: Worle: Year 10 Reflections London and Worle Birds Buildings - different viewpoints I like the squirrel running through the Grass trees Different height levels Trafulgar SquarE Friends and some lesson London Eye I noticed how different the school feels I liked the movement of people and cars with no children amongst large monuments Environment Sped up sunrise, walking. Animals Time manipulation. D.T. I liked the horses and animals Trees Liked the moving people part Worle was very flat Birds Show the school animals Dappled sunlight Environment Nothing except PE Environment Animals Sports Facilities
  17. 17. „Welcome to Worle‟
  18. 18. Emerge worle help
  19. 19. Locking emerge feedback sheet1
  20. 20. Locking emerge feedback sheet2
  21. 21. „... digital technologies have a role in developing democratic forms of cultural participation through the potential technologies Roz Hall quote: democratic digital for dialogue about that which is being made... People‟s priorities are always shifting, reflecting changes in their context and their relationship to it. ..‟ Roz Hall (2005) p.32. The Value of Visual Exploration: Understanding Cultural Activities with Young People, The Public, Birmingham
  22. 22. Ambience Collaborative Filmmaking Mediascape for the Bristol Festival October 2009 Supported by: Pervasive Media Studio, Watershed, Bristol Festival
  23. 23. Ambience at brizfest
  24. 24. Area of Research: Authoring User Generated Content For pervasive consumption (collaborative systems) Subtlety of Interaction owning experience Sensing for rich interaction (personal sensors) extending languages of communication Moving Image & pervasive computing/delivery (accessibility) Underlying Questions Affect/effect of Community Interaction •Urban/rural Community imaging Creativity •Time/timelessness (crowd delivery) knowledge extra-device, •Movement/stillness „communication‟ freedom to experience •Inside/outside •Maker/artifact/consumer „Ownership‟ of choice & creativity Experience as Synthesis/paradox? Relationship of individual with the whole
  25. 25. siegler „Reality is conjunctive, a complex movement where each one tries to “find one‟s place.” ….I cannot resist by protesting: I must have intelligence about it, that is, be in excess of it, and by that same fact already be, in advance, inventive.‟ Bernard Stiegler (2008) p.73. Trans: Barison, D. Acting Out, Stanford University Press
  26. 26. Soundlines
  27. 27. Ken robinson - creativity „Creativity is not a single power that people simply have or do not have, but multidimensional... an attitude: a willingness to reconsider what we take for granted. ... intelligence is essentially creative, that our lives are shaped by the ideas we use to give them meaning. Creativity is a process of seeing new possibilities. We all have creative capabilities but these are related to different media and processes. Realising these capacities relies on being in control of the medium – on having the necessary skills – combined with the freedom to take risks. The relationship between knowing and feeling is at the heart of the creative process.‟ Sir Ken Robinson (2001) p.137. Out of Our Minds: Learning to be Creative, Capstone Publishing, Oxford
  28. 28. Photos and traces
  29. 29. www. www. www. www. www.