by Hunter Doyle, Moad Musbahi & Sofia Pia Belenky
AA First Year Students
01 May 2015
First Year Studio, 36 Bedford Square
FIRST COLUMNthird column
The ordinariness of the content of the image and film, the snapshot technique of their production and the formulaic method of their presentation was an attempt to allude to aims at their relationship between production | consumption.
the point between the content and form.
(Inevitably a transformal process occurs within the mechanism of production.)
Things change depending on how they’re made.
the objects have become products in an endless ether of use value and capital
:the architecture of the banknote
What does it mean to be an architect producing still or motion pictures?
How does a work stand in relation to the contemporary, everyday, methods of production?
how is a film produced by an architect different than that by a filmmaker?
What is the architectural exchange rate when we swap buildings, or concrete space for a media-centric output.
They are both objects situated within the living social, cultural context.
2 pounds for a cup of coffee; a photograph of that coffee on your iphone; on instagram
the adjacent conversation situates work in a particular field.
The determinant factor of an production output is to lead others to production and second to present them with an improved apparatus for their use.
“thats our job, to spark somebody else watching” - tupac
A work is no longer judged by success as beautiful object, or a timeless artifact.
this apparatus is valued to the degree that it leads consumers to production, it is capable of making co-workers out of readers or spectators.
The photograph produces a system of adjacent and non-adjacent relationships aimed at creating new spaces and contexts. This system operates in three ways: Time, Framing and Translation.
Time. The course of a day. A photograph is taken of every object, interaction and location visited. Each preceding set printed and carried forward in time - reshot every hour.
Framing. Destabilizing the figure | ground relationship through use and non-use of white border. Windows into distance | the immediate space of non-border. Embedded spaces | morning touches my night.
Translations. Format. Three production methods at work each with a unique format: the portrait of iPhone camera, the narrow portrait of iPhone screen capture and the landscape of an inDesign desktop. Each method creates a logic for how images are organized next to one another, translating and distorting this information. Flattening the digital, photographic and real spaces into a single sentence.
In every ordinary day there are a series of quiet exchanges. The exchange of a bank note to a cup of coffee, now filled with milk to a kiss. The conversation is overheard in the barbershop. Change is given with purchase. This excess enters the second screen.
There are three screens: 1, top left, traces the primary, linear narrative, 2nd, bottom left, streams the script, both information and dictation, 3rd, top right, compiles the overflow of imagery, the surplus.
Filmed according to the rules of architectural drawing. A plan view of a bank note, a section of a kiss; interior, an elevation of a haircut; detail of ear printed in plan. The computer screen exposes the construction of the film as the context is mailed. Breaking the boundary between producer and consumer.
Sounds begin to swap. Revolving door transitions to treadmill. These intrusions are constantly being displaced, dislocated, but always exchanged as the day progresses from the site of the screening and audience, to the view of the camera, to the format of the computer and back to the site of the screening.
Splitting the screen makes the viewer aware of the space they are in, choosing which screen to focus on. Inherently missing certain information. It is in these gaps that images can move between the two screens.