We used a window at the Gateshead design centre. Thinking of calling it not quite animation. So, they gave us this brilliant window at the form of the building, and it seems ok, it was long. It is interesting as when I say what we need; the venue understood and gave us a great window. But as setting up and testing it out, found that it was becoming too hot the window outside, that there was lots of direct sunlight hitting the window which made it too hot to take the condensation. But checking around the back, the building in the shade there, and the condensation worked, so set up at the back. Murray had commented earlier, on the last shoot, that people sometimes stood too far back to fill the frame, and this could be problematic.
The design centre is a media hub, and the window had a good thorough fare of people, so the undertaking drew people over to get involved. It houses lots of media companies, so people were very interested in what we were doing and how they could be a part. Intriguing was a word that came up a lot. It is interesting to gauge how people do the undertaking, one guy cupped his hands over the template and this seemed to work well. Once company there was a science company, and one of their scientists came down to engage, and had a nice chat about their work, and also about ethics as they studied my clearance form closely.
There is a pull between us doing it, to create a strong and swish animation without the people in, and prising the frames apart, in order to insert the people undertaking the activity. Inputting the participants, slows and stutters the actual flow of the animation.
This also made me see Virtuosity, in a clearer light, as how the participants interacted with the templates, resulted in the condensation’s quality image. So this form of communication delivered through virtuosity, and how that fits with the notion of collusion. Because it is Virtuosity, that perhaps is part of a task, that means that the virtuosity shown, is communicating the intent of the participant to take the task to heart and are serious in their endeavor, and to develop skills in the task. Then trying again with the templates. Trying to get the better images but also the reaction to the process of those around, it is like the solo, the individual, engaging, to reveal or create something, though the experience for the joy of others around to see.
SO one more session next Thursday, am wondering how far to take it, to prise open the animation, and bring the participants to the picture plane. Is this going to be two short works? I am thinking be great to do a window projection, seems to fit in with the whole thing. But also don’t want to just sit back and watch it unfurl.
Interesting thinking more on Murray’s comments, why do some stand back from filling up the template and create a distance, realise now, you have to be close, and kiss in some manner the template, or else your breath is chilled before it hits the window and so dissipate the condensation.
Also it is a game at some sense, us finding the right window to do, not only affordance and the ideas of conditions, so much like the search and find mechanics in the Maypole undertaking. As we choose the back window, with half a wall in and a slither of skyline, with the shot composition dominated and organized, and our choosing of place, as the best aspects of the releasing the full visual factors of the condensation animation angle. So this once more affected my reading of the condition of the element of the location used, as yes we are using a window, but sometimes it needs to be a certain window, and fitting with marginality, the big main front window isn’t always the best, environmentally, but it needed to be a smaller, back window, hidden next to the door. But a good location to catch passing people. Thinking, maybe I should call it breath-taking!
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