Weekly Summary: 16.5.16 – 22.5.16

by Beauchamp Art

Digital Factory: Exhibition Opening [Stills] - 14

A key point this week was the meeting at the Junction in Cambridge regarding the exhibition we are doing as part of the Circuit group in conjunction with the Digital Residency at Firstsite. We address the space and discussed the plans for the 11th of June, when the event takes place, and how the space could be best utilised by all those involved. Given the size of the space, both horizontally and vertically, and the fact that it is a music venue with black brick wall sand not a gallery space with white walls, there have been some small concerns on how we are to fill it; given that the space we have been making work at Firstsite was considerably smaller, so the work produced has been made to fit that space; therefore previous piece may not translate well into this new space (given both the RGB video on the CRT and the Warhologram are distinct small and low to the ground, so would get lost in the Junction space). In synopsis, I need to develop a way of showing my work that would fit into a larger space better, but in a manner which will not impose on others (e.g. no overly-flashy RGB videos).

This was followed by a trial of a glitch workshop at the Wysing Arts, alongside a short talk/discourse there from the curator there, which was reasonably informative. Moreover whilst in the following day Cambridge, I also visited the Polar Museum in addition to the Fitzwilliam Museum for the second time, looking through their galleries and collections of artefacts ripped from their homeland and planted in heart of education in the Empire of Britain. Though in itself this latter activity may not have been directly informative towards my practice and functioned primarily as a means of cultural consumption, but did offer an opportunity to consider the use of large (non-linear) spaces to display various works.

I produced a short film documenting the opening of the Digital Factory exhibition, in the process I reworked the images in sequence to produce the ‘In Series’ video document, which I have subsequently been altering in a manner emulating possibly my first piece of video art baring the ‘digital aesthetic’ that has become prominent in my work, that of the ‘Cultivating Decay‘ films from my first year at NUA using the photoshoot with Henry as the basis of a peculiar line of experiments. Moreover, I intend to include another video for the next Float event on Tuesday, but what precisely is yet to become apparent. Hence I have been experimenting with sound and music, working some drone pieces alongside more up-beat ‘metal’ sounding tracks (the latter I have no intent to play publicly, but still occupies no small part of my time). Indeed, I have been collecting more music recently and have been attempting to expand the range of music to which I listen. Thus, I may endeavour to show the Andy Warhol Deep Dream images as a GIF using a projector.

I created an another alternative version of the RGB Invert [Post-Warhol] film with the video playing over itself at two different scales with an Exclusion opacity at reduced speed with difference time adjustment settings, resulting in a box within the main video that acted as a counterpoint to the main, framing, colour area. Additionally, I have also been working on the Strange Loop/Shepard Tone version of the Triphase soundtrack, with the track multiplied 36 times, for each repetition, with the pitch ascending one each track staggered to coincide with the start of each video, and the volume raising and falling to fill one full repetition. Moreover, I have been taking stills from a number of the Warhol videos, however, as the visual content is very similar throughout, but is organised by a different structure, differentiating between the version of the films in stills would effectively be pointless. Therefore, I have taken a few stills from certain groups of films to represent the wider range of variations.

Although I would wish to continue reprocessing this footage, the size of this project was around 200gb, so had to be moved to an external drive for storage so that other films could be edited. This simply means that I will probably desist from any more structural editing (i.e. frame-by-frame manipulations) and focus more on using the less compressed .mov exports; as for editing the sound, or for some of the more general adjustments, the fine structure need not be altered – particularly if alterations have to be made in DaVinci Resolve, where even with the ability to work between programs using the .xml files, simply importing the high-res .mov files should prove effective (especially as the videos are mostly 2K, and have to be compressed when viewed online or on a monitor – not to mention the frame rate problems previously encountered).