RECIPES FOR DISASTER: BOMB DEFUSING (UNSUCCESSFUL) GIF

 The laws around copyright and film are some of the strictest throughout media; I will write more comprehensively about this later.

This video is an attempt at splicing together scenes containing diegetic music (music controlled and heard by the characters in the film), in order to create a sort of character-compiled playlist. However due to the lack of universal process here, I don’t think it works nearly as well as some of the more common actions found across film.

While I previously structured my smoking splice to move through the process of smoking a cigarette, this one manages it more comprehensively, and, I feel, is edited more successfully.

In this version of the splicing process, the instances of doors slamming have been sequenced from left to right- the door slams move slowly across the scene throughout the piece, creating a very simple meta-narrative.

The emails I have received regarding copyright infringement so far.

 I have already incurred a few emails from Youtube regarding infringement of laws; meaning that my videos will be unwatchable in some countries (I have yet to discover whether the UK is one of them...)

“The scalpel of subversion slices through the surface/veil of appearances to make an opening, nothing more — an open space just large enough for revolution to pass through.” 

 due to this, my next step is going to be an attempt to deconstruct a transparent film (such as an advertisement or political promotion video) which has a much simpler and more obvious agenda.

 in order to do this I will focus on the lost and disused spaces within the city, using them to create a stage set for this “degeneration” to play out, and creating an alternate future in which, inspired by Laura Oldfield Ford’s “Savage Messiah”, it is the suburbs and not the financial district that is the centre of the city.

i’m investigating the stories that can be told by deconstructing specific aspects of architecture and re-inventing them. in this derelict building between nx and deptford there is evidence of both victorian and roman stylings... when seperated, each element could exist in a context of its own; with its own constructed history. i am making film-able models to represent each facet of the building’s ‘personality’.

explore every aspect of a location: photograph it, model it, film it, iterate the space over and over and explore the characters it can play.

film hauntology... vanishing the droogs from “a clockwork orange” in order to leave only the place to appreciate

how to save these places in collective memory before they are lost forever?

listen to the buildings and they will tell you their story

the effect of sonogeography is that it makes apparent the way in which modern times have reversed the role of place; the constant privatisation process, ravaging and rearranging the structure of the city to suit those in positions of power. architecture and space is no longer the permanent-seeming infrastructure it was. constant regeneration creates a sense of desperation, of needing to cling on to what is there while it lasts. sonogeography allows this through the fabrication of memory; in synching a memory of a location through use of existing media such as film, using noise as a link to popular culture and familiarity, you can remember a place as it was. change is happening all the time, to the most archaic and permanent-seeming locations. property developers have become experts at springing surprise bundles of cash upon those who own what they think should be theirs.... in preparation for this, store memories of the places that may soon be gone or changed forever.

currently I’ve only formulated this with film locations in mind, although I plan to soon move on to including defunct objects such as the sound mirrors I originally focussed on, and decide what components their “kit” would require...