Inspace is a provisional title for one of two new films intended as part of an evolving multiscreen installation. They were made between my studio and the FACT lab space in Liverpool. The making of Inspace was a particularly unusual experience as it was put together in the dark and silence enclosed in a locked space within the Kurokawa installation at FACT. Kurokawa had made a series of works responding to data relating to the birth and death of stars. The soundscape of Inspace is largely formed by Kurokawa’ soundtrack for his piece Constrained Surface. To avoid disturbing visitors to the exhibition my own piece had to be made in almost total silence with any noise restricted to the more cacophonic moments of Kurokawa’s piece. I felt like a bank robber blasting a safe in time with the roar of a football crowd.
Inspace was filmed on multiple devices including low resolution digital cameras, and an iphone. The cameras were left running throughout filming and were pushed about in much the same way as the simple machines. The qualities of the filmed image are in part a product of the low frame rate and ‘poor’ exposure control of these cameras. In a continuing break from earlier work the hand has become a prominent feature of these new films. It is more than an activator in the filming process. There is also a quality of close magic in the film with some of the passages appearing to deal with the creation of illusory imagery. However unlike the magic trick the film lacks a sense of narrative or closure.
Moments of breakdown in the film have largely shifted to the camera and include :
Shake and haphazard angles – the product of working closely and filming and making simultaneously.
Low frame rate causing a form of fluid distortion to fast moving objects.
Poor focus and exposure control leading to sudden shifts and breaks in the image.
Horizontal scan lines as the camera fails to keep up with the speed of movement.