Pop-up Show – Home film-screen broadcast

On 25th November  there was a Pop-up Show at college

Pop-up Show at Home.

I was working on the day of the set-up and show as I changed my workdays at the beginning of term, so couldn’t get down to be  involved.

Instead I decided …at very short notice.. to hold my own screening at home and broadcast it via periscope and a Youtube Live Stream

I’d tried to do a Live stream from the Reading Room during the Show last year but the fact that there was no Open -Zone signal or broadband  made it impossible to do from the inside of the building and even outside (I tried)

I invited a few friends round for the screening ( wine, nibbles etc), set up the projector, desktop etc  and ran a trial at lunchtime – which worked

I went to work and then came back at 4.30,

I was fiddling around doing some bits of edits to a couple of short pieces I’d madeEdge Hill videos 1 and 2 and variations in a hurry just the show opened in Camberwell at 5.30 that I didn’t notice (stupid!) the little ‘successful share’ box positioned itself right over the ‘Go Live’ box on the Hangout…

I was so busy opening the door to the ‘audience’. ( Yes some people did come, unexpectedly!) that I still didn’t notice… being a lifestream novice…. That although one box said Live Stream…. I wasn’t broadcasting. Didn’t realise until after everyone had left. So a Big Lesson learnt…

Jonathan ( tutor) did have a look after the show to see my Stream but of course it wasn’t there ( FAIL) However….

Live Streaming from Home 

I did Periscope for most of the event and have yet more screen shots to show that I did actually have an audience, in total for about 1 hour.


Rather annoyingly, I stopped broadcasting when the post- screening discussion really got going so don’t have a record of all the Crit.

My aim had been to screen the videos and some of the old work via Periscope.

I thought that the discussion and the event itself,was being recorded via the Live stream…….but not the case.

Great Crit Opportunity: Need to Clarify

Anyway the evening was very useful with much discussion about duration and Sebold, and some very clear crit about the voice over referring to Jihady John seeming like a red herring as it has no clear link to the Civil War…

I guess I have to be sure what it is I am saying.

This came across when the other videos were viewed and discussed

That if I am going to include political content I have make it more overt and direct otherwise it will be lost or confuse…

I’m still not sure if I want to do this as I feel the political, though important, is only a way of illustrating simultaneity, as it is what is so widely reported and also of significance and impacting upon out day to day.

Maybe I need to bring more of the ‘everyday’ in.

I’d thought about this when I did the Barford video sketch and included villagely local stuff but other stuff like Tumblr and Twitter posts about food and the Kardashians didn’t seem to fit…

Re-think necessary and to try and clarify what it really is I’m saying… maybe…

Part of me wants it to be intangible and fluid and open to lots of personal and wider interpretations.. about time and place, personally and socially- politics is inevitable in the mix, but I think I have used it more as a tool of illustration.

Problem is, the topics at the moment ( and the ones I choose to use) are so ( too?) potent.

Also there was discussion  about the use of hashtags to attract people to the posts and how to/ whether to aim for attracting a large audience.

Is a large audience what I want..? Is a selected audience what I want?  Do I want people to find it by accident? There was lots of discussion and clarification by me of my intentions..and confusion when I was asked things I wasn’t clear about.So all in all an excellent Crit.

Anyway, all in all it was extremely good practice, yet again, to fail, yet again, at Live stream and consider the implications from a practical/ technical and curation point of view of using a distant Broadcast as part of a Show…

One other point that was made was how I’d got the projector, media player, desktop, phone etc all set up and positioned on my old furniture…1920’s piano stool, 1930’s roll-top desk…etc.juxta-positioning of old and new and all that… and relevant.

Here’s a dreadful still from the broadcast of Frances and Martin, post-wine and mid-crit.




November 22nd: Drawing Weapons, Cut-up text

On Sunday 15th November I researched the flintlock and matchlock muskets and pistols I’d seen in the display about the Edge Hill battle and grabbed some low res photos from the internet. They are replicas for sale from Military Heritage .com

I also checked out the most commonly used weapons used by the British Army in conflict at the moment.

I came across the  L85a2 rifle , although there are a host of others on this British Army website for future reference –  Full details are available.

I wanted to draw images of these and leave them on the Red Road trail in Kineton see below for the rationale.

So I traced them on to tracing paper  and cut them  out. I made some Scopes of me doing the tracings. A rather literal reference to ‘Trace’ but it felt as if it may be effective in this context.


The Scoped streams  weren’t that popular.Very few viewers.

I can see from Twitter that I broadcast them at about 5.30pm UK Time ( 8 hrs later than the Twitter feed says…).There were lots of broadcasts at the time from Paris and Belgium as events unfolded.

#Musket doesn’t sound that enticing…. by comparison..if enticing is the right word.

Not click bait anyway.

I’m putting these videos  in the blog long after I made the drawings and now have Final Cut, so as practice and playing to learn bit more and become more confident, I’ve made these into a very short movie.

I’ve reduced each clip to 1 second for the stills and 1 1/2 secs for the Periscope clips, used the Combat video effect for all .

No transitions apart from a Cross fade at the end but played around with the Ken Burns quite a bit so that the detail of some weapons was highlighted or the viewer moves from the trigger to the end.

With each clip being just one second there is a sort of Shot-like feeling which happened by accident but I’ve emphasised I hope by using the Ken Burns in this was with an image which has some length. I actually enjoyed playing about with these. Now I understand a little more through watching the Essential Training on Lynda and just messing with other bits of vid.

Anyway the videos are  here below:

Not piece of work…. just an exercise and some documentation

Maybe though I’ll use some of these techniques again.

The audio of the radio programmes on this one includes the BBC World Service News that happened to be on the radio as I was working. It  is interesting and relevant from the global conflict contextual point of view. I may use this as material later.

I also spent some time cutting out small pieces of text from the newspapers reporting the Paris attacks.

The idea is to scatter these along the Red Road and the Civil War trail on another visit.

This will act in a similar way to Dadaist cut-ups and act as a local ‘anti-war’ action.

I’d played around with this idea of cut-ups previously  in The Reading Room Event see here  see the end of the post.

The tracings and the cut-ups will be visible and read by anyone walking the public right of way, whether they are local people out for a stroll or MOD personnel.

The images and text forming part of a visible layer of evidence of past and present action within the locale and globally.

People will have to stoop and look closely to see what the images are and read the new messages create by chance form the Cut-Ups.

At least, that’s the plan.

I broadcast several long scopes (The Twitter messages  from the Scopes saying that they were made on 20th November at about 12.30pm, with the time adjustment) when I was making the cut-ups. I’ve hastily chopped them up to preserve the key process rather than the whole Scopes which involve me dropping the phone, getting, sitting down etc.

Interestingly these are OK viewing for Scopers I feel but as Documentation here …not so good.. It’s long anyway.

I’ve included some stats and had lots of viewers  for this activity, below

What is interesting about the Viewers is the breadth of the nationalities and locations.

I saved these videos to Phone Camera Roll  and that’s handy .

Though you don’t get the chat visible or the Hearts that people send..not visible on my list but evident on my  camera role….possibly low signal???

The final image shows some of the cut up text and gives an idea of what may happen when it is scattered or ‘Broadcast’ as they say about seed.

There is an idea here about scattering the ‘seeds’ of (?) entrenched ideology set within the text, font and therefore narrative  of the newspapers

and also about this ideology being embedded within the soil and the memory.

It reminds me of Pierre Nora’s thought on how the collapse of rural society has affected philosophical thinking and his ideas of a memory ‘rooted in the soil’

The proliferation of memoirs, genealogies, and autobiographies by ordinary individuals, to Nora, is the inevitable result of the transition from rural to industrial societies. Traditionally, memory in rural France rested with the soil. With the decline of rural life, memory was traced more to the self, and to psychology, hence the growing individualism and individuation of historical memories. (Nora, 11)

From History and Historical Memory an Introduction

or alternatively the broadcasting of political and religious messages ( such as what goes on across the borders of North/South Korea)

The term ‘Broadcast’ was used historically in farming  when the seed was scattered by hand and then machine… rather than the mechanised seed drill used now, where the implement cuts into the soil and the seed are dropped into the slot which is left.

EDIT : January 2016  See also this post A further video combining  the broadcasts, documentation videos and stills.Protected: ‘Re-visited’: November 22nd: Drawing Weapons and cut-up text

See also this post Broadcast Balloons where I wrote about it in more detail.

Ghosts : Paul Goodwin


Jonathan Kearney was  discussing with us the Ghosts series at UAL and asking for thoughts about  display in September.

Unfortunately it is unlikely that I can get to the lecture series or any accompanying exhibition but did make some comments (below) based on some of Jonathan’s questions back in September .

The ideas of diaspora are pertinent at the moment and have also been in my thoughts from the point of view of investigation of place from the point of view of archaeology and anthropology, the ‘remains’ I have ben thinking about whilst writing my Research Paper.

 It is too late to follow this line of thought in the paper but I will include these thoughts here

What are the fears and unease about embracing techno-cultural mutation in our societies?’
or is techno-culture already a overarching power?

I think associated with the feeling of the overarching power is the paradoxical feeling of needing to be constantly aware of this power and if possible be part of it…Other wise it’s power is even greater and it is ??? more malevolent…so there is this conflict.
Rather like when you are a child and you think there’s ‘ something in your room at night’ and you have to keep peeping out from under your sheets to see…’The Ghost’….with this unspoken power

Fear of being constantly connected — what is it doing to us – changing us — wedded to mobile devices

I think there is also the overwhelming fear ( similar to the above) of NOT being connected… in case we ‘miss something’ are ‘left out of a group’ are perceived to be alone by others and maybe feel alone our selves.
After all GHOSTS only appear when we are alone, usually seen by one person in isolation at one time.

So I think that SILENCE is key here and there should be some ‘ space’ ( real and virtual) within the this work where silence ( digital and other ) is experienced unexpectedly.

Lots of things happen in silence and spaces of non- happening and non- connectivity and this could be made apparent somehow
Those ghosts could be made visible ….?
Geofenced network  can  act as a physical embodiment of the virtual space which is ironically restricted to a physical location anyway.

Both the geofenced and more open networks together may emphasise the restriction of the boundaries as if walking through an area and coming across the boundaries after being in a more open area.
I wondered if it would be possible to open out somehow to other geographical locations ( site of performance and work ) and dip in and out of this for this emphasis.
Maybe if some of the on-line students are contributing work this could used in this way…. to live feed or performance type events.
I would be interested in performing some action from a distance that could be accessed ‘ live’

The community based work I did in The Reading Room ( which I am STILL writing up on my blog!!!! ) worked with making connections, ghostly presences of past and present actions, and communications.

Here are also some references to the work of the artists for use in the future. Relevant in many ways from the POV of Social Space, Memory and Communication.

Keith Piper : Relocating the Remains and  Excavating the Website My initial impression here is that I like the idea of the interactivity but the aesthetic is not one I feel I want to engage with ( Age, gender, race play apart here) but I will see what I can glean from it …

Gary Stewart : Mission to the land of Misplace Words This is much more my sort of thing! I’m sorry I missed this and will look out for more of his work to visit.

Sound and memory are fascinating and I do not want to get embroiled in this technology myself too much  but maybe its an area  where I could collaborate in  the future ( Martin perhaps …. )

 Note to Self

Sound is an important component to my work which I have a tendency to ignore..


Gary Stewart: Liminal a Question of Position

Lots of very interesting work here from some-time ago. I especially like the installation by Che Guevara Jon  and this X Space Virtual Gallery graphic

Visit to Oxfordshire Museum


I had to go here for a meeting so nipped into the museum and saw the Iron Age mirror described in Sharon Woodward’s film ‘ More than Just a Mirror’. Sharon works for Film Oxford and also works with ‘Lights Up’ in West Oxfordshire , so we know each other quite well. I had look round at descriptions of Ritual Sites and their significance in Oxfordshire.

I looked at Magoria, Neil C Smith’s digital phasmagoric work using archive and contemporary photographs of Oxfordshire people. and then went to look around the new Soldiers of Oxfordshire Museum, which was altogether a different experience.

I spent some useful time looking at weapons, past and present and the displays about communication. The images I took were take on my phone as ‘aides memoire’ and so poor quality. But the research was useful for thinking about conflict past and present and the references within my Research Paper.



The Affect of Philosophical theory in the exploration of non-linear narratives!

This post is rather a confusing mix about non-linearity and how to present it .

EDIT  March 5th : I’ve been thinking more about this after my Tutorial with Rosie Sherwood when we talked about  non- linearity in comic books, Structure vs non- structure,… the gutter…as a space for the imagination... and how she saw Ordnance Survey installation as a book


This is a ( becoming) long post which hopefully covers the main points of what I’ve been thinking about recently.

I’ve been going out and about, looking at sites/ making and placing things and doing some fairly casual streaming which I’ll cover in other posts but an example here

Global Thoughts on ‘Guy Fawkes (Bonfire) Night’ and another Crouch Hill Scope,

One of the key concerns that has come out of the process of writing the research paper and its conclusions has been my tendency to and desire to continue to use non-linear narrative in my process and ‘finished’work, whatever that is…..

I’ve been really wrestling with these complex ideas and going round in circles/ getting tied in knots but by discussing things verbally and scouting around on- line.I  realise this is how I approach things generally, in my practice and in my life as a whole.

I spoke about it to Gareth Polmeer when I was writing my paper…We discussed whether the paper would be finished by the deadline…Personally I felt it was.. though not in a formal academic sense.That’s sort of the point…No beginning…no end.

Personal experience and how it has impacted on my praxis….

This same sort of struggle is occurring in my cognitive experience. I’m constantly frustrated at the moment by my difficulties with information processing and memory. To this end I have an appointment with my neuropsychologist at the end of January. Its taken a few months to come around but that’s useful, as actually I am clearer now about the nature of the ‘problems’ and how to describe them to him.

I love in many ways how this effect/ symptom has highlighted what I believe is one of the essential conceits of my practice HOWEVER to demonstrate this visually  and avoid incomprehensibility is difficult.

I struggle more and more with organising the work I make and remembering what I have done or thought!!!

Relevant Philosophy and feelings?

From a philosophical point of view I’ve always been a bit ‘sniffy’ about Deleuze and Guattari’s rhizome...Not because I don’t agree with the concept but because I think ‘ Of Course!’… ‘what’s new’…it seems common sense to me…

and also because I get unreasonably cross with the use of botanical and wider biological metaphors… it crosses an academic boundary which I find difficult. ( Yet I enjoy this boundary crossing usually…?) I feel their  interpretations are not necessarily scientifically  accurate  or fully understood and it bugs me…despite the fact that I know thats not the f***ing point.

Petty but true and rather Binary of me I know….what ambiguity is this… thinking one thing and feeling another… As a botanist I understand the Rhizome and the Arboreal in terms of apical meristem / xylem and phloem and the physically tangible if organic.

D& G’s use of the same terminology grates unreasonably and the differing interpretations serve to confuse not clarify for me. So it’s a language problem for me, I guess, not a philosophical one…

Derrida  ‘feels’ fine to me with his thinking around  archive and Pharmakon poison/cure  etc….which I understand in a sensory and intellectual way.

I had avoided reading D&G for the above reason which is pretty daft!!!

Also I don’t want to read at the moment as I will get caught up in it again and need to make…so have watched some lectures including this series

 The first lecture  highlights the concepts of Connection- any point can connect to any other point to form Multiplicities and then larger Assemblages. I started to think about assemblages of social spaces and how this fits with Doreen Massey and Lefevbres thinking… I’ll cogitate on that one.

Also a little about heterogeneity and deterritorialiazation/territorialization described as per Wiki ( !) :

This means the removal of cultural subjects and objects from a certain location in space and time. It implies that certain cultural aspects tend to transcend specific territorial boundaries in a world that consists of things fundamentally in motion.

The lecture describes things from an ‘evolutionary ‘ viewpoint and again there I start to misinterpret because of the language used..and my prior understanding of the terminology gets in the way. I can almost feel it, physically…

However, then the lecture describes

  • cartography as being unfinished and tracing as a’finished’ overlay


  • the elimination of the subject ( of enunciation)  and instead collective assemblages of enunciation.

This makes far more sense to me and also makes sense of what I did when writing my Research Paper and what I am trying to do in my making.

I’ve been reading and watching examples of non-linear narrative as in

1000 and One Nights , Memento

and this analysis of Memento and Switching 

I watched  Flight Paths – by Kate Pullinger, Chris Joseph and participants

which combines hand written text, sound, still images and  movies to create a very  affective narrative apparently using coding and an api

It make me wonder how I could be able to  include live feed from periscope on a storytelling platform and whether this is worth investigating. My lack of technical knowledge restricts me, but maybe I could access some through Oxford Hackspace?...

I discovered sites for Structure and coding  to build non-linear narratives on the web like this :

 Pixel Fablea collection of interactive African children’s stories of love, science, revenge, and magic

I have to decide whether this is the way I want to go, or whether I can get over the difficulty another way.

I looked at other ways of digital storytelling  such as  Frank Chimero- The Web Grain ,as well as Storify, which Jonathan suggested, and other platforms.

Chimero describes on his site how David Hockney used the edges of Polaroid photographs non-edges and other photographic images in his exploration of time/space and non-linearity in The Scrabble Game (1983)


Memento analysis

Here is a video about how Christopher Nolan and his brother ” Tell the story backwards” in Memento.

They use repetition and internal echoes,  with objectivity  in B&W as documentary.  The chronology is forwards but as it progresses objectivity become more subjective..subjectivity  indicated using colour.Eventually start the viewer and protagonist start to question this and it becomes less subjective.

Scenes start to meet in the middle of the movie, but the audience are denied the knowledge that the protagonist is denied….. which leads to tension between the subjective way in which we have to experience the world and faith in objective view- more comfortable.

So the movie is powerful because it alternates between belief and disbelief. At the end the objective and subjective meet. It is still subjective but with enough objective information to question it. He also uses Polaroid images but by reversing the play so the image fades away…

Some very interesting techniques of Film-making and it is helpful to think about the various ways of mixing, blending and alternating past and present to create the non-linearity.



“It’s a poor sort of memory that only works backwards”

Whilst updating my Proposal and thinking about how the process of writing my Research Paper will impact on my practice, I started to consider working on the following  themes. I’ll do this when I have  completed  work at the Edgehill battlefield site/ MOD Kineton:

  • A project on Crouch Hill based around the Trig Point-as a location it has layers of history and geographical and community significance. Also it is physically close to my home, a shortish walk, making it a practical place for me to work. I would also be able to enlist the help of friends with carrying equipment and other technical help. This would be less possible with other more distant locations.
  • I would base it around a live stream with some interaction on the site and possibly some live news feed or images added later.
  • I’d use performative action and performative writing in some way during the Live stream and interaction
  • I’m also interested in the literary concept of Portmanteau words, as below, and using the concept in a performative way.

I’ve been looking at the work of Belgian artist JOHAN GRIMONPREZ, who’s film montage work  Dial H-I-S-T-O-R-Y  a fake documentary about a hi-jacking was made in 1997 and seems to be  almost a premonition of 9-11.

There’s clip of it here

Grimonprez work acknowledges unseen events which can’t  be documented  and so  the potential impossibility of documenting any historical fact. His  first large-scale retroperspective of Grimonprez in  Belgium was  “It’s a Poor Sort of Memory that Only Works Backwards”.

I found the title fascinating as I recognised it as a quote from Alice through the Looking Glass. and know that Lewis Carroll’s Alice Works examine the themes of Space/ Time and Fact/ Fiction. She tells the White Queen that “I can’t remember things before they have happened” , and that is the Queen’s reply.

Unknown-8Whilst re- reading some of Through the Looking Glass and researching a little about Lewis Carroll , I became aware of his use of Portmanteau words like “slithe”  meaning lithe and slimy.  They are words which linguistically  blend or fuse words, parts of multiple words, or their phones (sounds), and their meanings  to  combine them into a new word-  so smog is a blend of smoke and fog.

 I really like this idea of fusion of ideas and ending up with something which is ‘nonsensical’ but  means something new.

Somehow, I’d like to use this idea in some performative way especially as it links with Carroll’s ideas of time and space and simultaneity and also is referenced by Jung when discussing Synchronicity and meaningful co-incidences (Tarnas, Richard (2006). Cosmos and Psyche. New York: Penguin Group. p. 50. ISBN 0-670-03292-1.) Most appropriate for my proposed work.

14th November 2015 : waking up.

When I woke the next morning……having not seen any news the evening

before……I looked at on my phone straight away as I usually do.

I felt my actions the day before 13th November and  13th November continued were somehow prescient.

‘The Paris attacks’.

I haven’t got screen shots of those images as I was too shocked and concerned for people I knew of who lived in the area or were visiting.

This image here, now all too familiar.Screen Shot 2016-01-20 at 09.32.52

and these from the Guardian,  images of many of the Front Pages of newspapers from around the world.

The shock changed into something else…..a feeling that as I was walking, thinking and acting so other actions were taking place simultaneously, elsewhere.

As mentioned in my previous post I’d been thinking about weaponry/ munitions, the actions performed  and the ritualistic nature of  their use in the  17th century ( and before) and in the present day before visiting Kineton, because of its association with storage of ammunition over many years.

The fact that these actions are played out globally not locally, in several places at one time but the ‘placement’ of these essential objects of this particular ritual are centred on this one location: one with such historic significance in the development of British politics and social history because it’s association with the start of the English Civil War.  See from this quote below from Caroline Wyatt in the Daily Telegraph 12th August 2012

The level of stocks held by the MoD only becomes clear when we visit Europe’s biggest ammunition depot, as we track the bullet on its journey from the factory. The depot lies in the tranquil countryside of Warwickshire, where Lieutenant Colonel Simon Hirst, the head of establishment for Defence Munitions Kineton, looks after several square miles of ammunition stores. Security is tight for the £2 billion of ammunition kept here.
“We are capable of storing about 50,000 pallets of ammunition,” he says, gesturing at row upon row of tidy boxes, stacked tightly from floor to ceiling in one of Kineton’s many warehouses. “We’ve been supporting defence since 1942, from operations such as Bosnia, Kosovo, the Gulf and more recently Afghanistan, as well as the campaign in Libya.”
From Kineton, the ammunition destined for Helmand goes to RAF Brize Norton, where it is flown to Afghanistan in a huge RAF C17 aircraft, landing at Camp Bastion, the UK logistics hub in Helmand.

My visit to the sited memorial  the previous day, hearing the distant deep explosions, somehow ‘sensing’ the history of past events from a psychogeographical point of view ,seeing the museum displays of  flintlock pistols, pikes and other weaponry and then the unfolding of events in Paris…..all these things reinforced the theories discussed in my Research Paper  see for Bibliography citations below.

From the Abstract:

Collective events, individual action and embedded practice act through embodied memory and both material and immaterial remains, as manifestations of previous actions and relations. These act reflexively in a continuing atemporal narrative process of actions, events, interrelations and subjective experience.

Temporal boundaries between present and past are arbitrary; the boundary is an ‘illusory’ horizon similar to the perceived physicality of the visual horizon.

Doreen Massey states:

‘space is always under construction, a product of relations between, relations embedded in material practices in the process of being made, never closed or finished.’(Massey, 2005 p9)

Lefebvre’s ideas on space regard places of social space as combined, superimposed and colliding; the local never absorbed regionally, nationally or globally (Lefebvre, 1991 p 88). He states that nothing disappears completely, earlier actions remain to underpin what follows; not just traces, memories or relics are left behind, instead, preconditions of social space endure and remaining real within that space (Lefebvre, 1991 p229).


Collective events, individual actions and embedded practice act through embodied memory and both material and immaterial remains – manifestations of previous actions and relations reflexively producing interrelations which occur within and between the communities ( locally and globally ).

Rather than being distinct, they are interwoven and accumulated in a continuing process of interrelations and material remains occurring within a durational present free from temporal boundaries. Subjective experience, individual small actions and larger events contribute to a narrative and constructed environment with equivalent significance in a cumulative continuum.