The document outlines a student art installation project that will immerse viewers in the experience of a car journey. It will project videos of personal journeys filmed from different angles onto 4 screens to surround the audience. The center will include a car structure with seating. Videos will include the artists' journeys to family locations and will be filmed to look natural without dialogue. Accompanying soundtracks and dim lighting will further immerse viewers. A map collage highlighting the routes will provide context and allow viewers to understand the significance of each journey. The goal is to reflect how car journeys can take on meaning and represent the experience of passive travel through changing scenery.

1. Journeys
By Kirsty-Lee Kent, Lucy Smith and Gem Williams

2. PROJECT OUTLINE
• Installation
• Filmed from 4 different angles: front window, back
window, left and right side window
• Each side of the projection will be a different journey
• Projected from the center onto 4 screens, creating an
immersive rectangle environment
• Speakers from behind the screens will play video
specific soundtracks for each side
• In the center of the room will either be a) a whole car or
b) car parts suspended from the ceiling (most likely
crafted out of art materials) with 5 chairs forming a car-
like seating area for the audience
• Physical artefact – a collage of the maps of each
journey etc – will be left in the middle of the room for the
audience to look at

3. DIAGRAM OF OUR INSTALLATION

4. JOURNEY ROUTES
The front window will show a journey with no specified/particular
beginning or end involving the three of us together, showing how we are
currently going on a journey as friends, university students and aspiring
artists.
Lucy’s journey will be from her house to Godalming, where the grave of
her grandfather (who died when she was small) resides. This will be
shown from one of the side windows.
Kirsty’s journey will be from her house a yearly family trip to Great
Yarmouth that is a much loved family tradition. This will be shown from
one of the side windows.
Gem’s journey will be from her childhood house to the local hospital,
recreating the time when her father was severely beaten when she was
4. This will be shown from the back window.
We may show only a section of these journeys depending on the length.

5. JOURNEY ROUTES - MAPS

6. AIMS & INTENTIONS
• Immerse the audience in an environment which, with a bit of
imagination, will make them feel as though they are actually in
a car, which leads to…
• Make the audience think about car journeys that have had
significance to them, and the moods and emotions that they
created which reflected into the car
• Make the audience want to figure out what the context of
each of the films is (journey, emotions etc)
• Explore how the window of a car can be turned into a canvas
that features series of disconnected images
• Reflect on how the effect of the installation – taking the
audience on a journey without physically doing anything –
represents both the literal effect of being driven in a car, and
the metaphorical effect of cinema

7. We want to explore the importance of car journeys within people’s lives. People
often don’t think of their car journeys, as they are just a mode of getting from A to
B, but they can take on a certain significance depending on the to and from of the
journey.
The beginning and the end of the journey are obviously important, but we want to
explore the middle of the journey. The getting there. We want to explore how the
feelings and emotions that emanate from the to and from destinations colour the
experience of the car journey for the one being driven.
We also want to explore the sensation of being driven somewhere; we feel that
when you’re being driven on a route that you don’t know, points A and B become
disconnected locations that are tethered only via a string of images without
meaning. The windows of the car become canvases on which the images rapidly
change, and the viewer becomes a passive participant in a journey; we feel this
aspect is interesting, the idea of a person going on a journey without have to
physically move or control any of it. In this aspect, car journeys reflect the power of
cinema; you are taken places without ever leaving your seat.
We want to create an incredibly immersive environment via projection in order to
bring the viewer into the world of the car journey, making them feel as though
they’re in the car. Thus, they will take a journey without having to move; the effect
of being driven places, and the effect of cinema.

8. IMMERSION
We feel that immersion is paramount to our project, and
with this in mind we are dedicated to creating an
environment that allows the audience to fully empathise
with the aims of our project. We really want the audience to
feel like they’re actually in a car so they can better
understand the things we’re trying to explore; significant
journeys and the strange effect that being driven places
when you don’t know the way has on the way you see the
things beyond the window.
In light of this, we would want the room our installation is in
to be completely dark, and the screens on which we
project to be as big as possible. We will place speakers
behind the screens on every side of the room to provide a
surround-sound environment, placing whoever is in the
room into the environment of the car.

9. MOODBOARD

10. INSTALLATIONS

11. Tall Buildings by John Wood and Paul Harrison

12. CAR INSTALLATIONS

13. http://youtu.be/W
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http://youtu.be/0DXkKIu http://youtu.be/W1j0FhN
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14. CINEMATOGRAPHY & STYLE
Due to the awkward conditions of our project we will have
to film with natural light. However, if filmed correctly we feel
this will not be a problem and could in fact add to the
natural, real life roots of the content of our installation.
We do not want any people visible, as we feel this would
take away from the audiences’ ability to place themselves
within the ‘car’. Voices and other noises will only be heard
from off-screen, and there will be no dialogue; this lets the
audience try and figure out what is happening in each car
journey and the significance of each noise.
We want the camerawork to feel natural to further the
immersion of the audience. We will use a tripod but the
movement of the car will provide the footage with a natural
movement which will aid the creation of a realistic and
immersive environment/film.

15. SHOT EXAMPLES

16. MAP
To complement our installation, we want to add an artifact that
focuses more on the routes themselves rather than just the
imagery and significance of the journey. We want to create a
physical object, a collage of the four different routes that each
of the sides of the projections take, and place it in the room. The
route of each journey will be highlighted with a thick red line.
This shows where the journeys are between and therefore hints
at the significance of each, helping the audience guess at the
different situations.
The map will be overlaid onto the screen of the projection that
the route corresponds to, but very faintly, so that one has to
look very hard to see it, and the red line is the most visible thing.

17. MAP ART

18. Thank you for listening.