Spent this morning running a final test for live feed for the assesments on Tuesday. It just wasnt happening, I have had poor connectivity all this past week and today was no different.

It has made no difference if I have been at home or at Empty Shop HQ, wireless or cable connected, the server just keeps dropping unexpectedly.

The possibility of this happening was something I had disscussed with Andy and my peers during the last chat session we had and had been advised to have a video piece incase of this eventualitity occuring.

I dont want this to happen durring either assesments or the private view, so I took the decission to draw the line under this part of the project at this point and  emailed Andy and Jonathan today to let them know that I wont attempt a live feed on Tuesday, and to thank them for their support and patience over this asspect of the project.

Iam very disapointed not to have been able to find a good work around, but this week at college has in part been about resolving technical issues and I  managed to broadcast uninterupted on the 13th June for 2 hours.

Here  is a video of the live cast piece. Again focusing on the notion of walking as an activity which is being obstructed, altered or made difficult.

The 12 stones are laid out in the form of a rough circle. This piece again has a  theme of endurance.

Will keep developing this piece now for the Meanwhile project show.

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U2 W18

April 28, 2010

Being a tough few days with several issues to resolve.

Have begun to prepare the next issue of Mail Art One and ordered paper. So far has been only a small indication of interest for using it to promote the MA show so I am putting together a call out as usual.

My computer has been throwing up some issues, crashing when I edit video, (I have had continuing issues editing video on this pc for some time), dropping files, and having trouble with internet connection. So my next move is to replace it. This means that the money for camera/ final project is less than it would have been. I had envisaged a problem that would cut into the budget, but not one this large. It is also holding up producing the symposium video. Fortunately the posting date is now Monday 9 am.

Also issues here continue to dictate a move for the final piece being Korsakow based. Including the venue I had approached to use for a live cast for the show and final assessment has had an alternative show booking, and I am also pushed by ongoing issues here so the choice needs to be firmly made now about which platform to stick with.

I am looking to the possibility for web hosting the Korsakow piece as the video files are large and will not probably fit on a disc or stick. My web site wont host Korsakow’s programming so I have emailed the hosting company mentioned on the Korsakow site.

Emailed actuationist Alastair MacLennan last week and had a kind reply from him. That has been the high light of the week and given me encouragement and appetite for the next stage of the journey.

U2 W18

April 26, 2010

U2 W17

April 18, 2010

About 9/10 weeks to the show build. So this is my current project status:

Video: Have been looking at this and the options of buying a new camera. Cost is a major factor, but so to are file types, and the processor power of my computer.

My Canon digital SLR  which I got from Ebay without soft wear and cables etc. and though  have tried downloading the drivers for it from the Canon site haven’t as yet been able to get the down load to install properly so at most I can do is upload files.

I was considering using the Canon to take time lapse for a live cast. I will still try to sort this. To see what sort of image quality might be achievable.

Ideally would’ve brought a new video camera by this point, and am still debating about this. One concern though is that with a better camera ego e with HD quality my computer will struggle with the processing requirements, or if its file capture is .mts it will require Sony Vegas soft wear to edit which again adds a huge cost.

One area I’ve not  thought through as well as I’d like has been in providing an adequate financial plan. It would have been good practice to have tried to allow for a larger final project budget.  Or to look for possible sponsorship etc. so that is a hard learned lesson for future projects. Have to be more active across more areas in order to better ensure a successful outcome.

Korsakow: Begun going over Korsakow this weekend and currently using the older version of Korsakow because of the time scale.

Video from my JVC camera which came from Ebay with out soft wear and cables etc will only open and edit with Windows Movie Maker, so currently I am editing saving files as AVIs and then converting them with Adobe Premier Elements as iMovie files which is the file type this version of  Korsakow accepts.

It’s helpful to move the sequences in to a different arena and run them together as it gives a different slant on the work.

My sister has mentioned that it is possible to run videos in Microsoft Power Point. So have been having a look at that option as well and though am not too sure about it linking videos in the same way as Korsakow and it certainly doesn’t allow for the random element Korsakow provides, (random element provided by Korsakow is a reference for the random nature of the lived body in my project) its a possible format for the coming symposium piece.

Project Title: My project title has been a constant bug through out the course. It outlines/describes/outlines the idea of the MA project. Yesterday was checking the weblog and liked at the tag cloud. The 3 words that stood out were body, movement, identity. Which have formed the basis of the project, so I have updated the project title from Everyday Movements to Body, Movement, and Identity. This refining of hunches, thoughts, and possible understandings in to a clarified language is something I’m always wrestling with.

Mail Art One, summer issue: I would like to offer this issue for the Digital Arts group show so anyone who wanted a paper presence during the final show could have their work represented in it. Need to produce a larger edition, so need to set up an email outlining details and a deadline to my peers to see if there is any take up if not will do call out for the issue.

U2 W16

April 15, 2010

Below are some notes I made during my last video session at the Empty Shop work space:

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Found video-ing at Empty Shop workspace stimulating and incredibly rewarding and am very lucky to have had the opportunity to move the work process in to that environment for this stage  but it has also been exhausting.

This has been good for pushing the question about the plausibility of the final piece taking the form of a live art broadcast.

Levels of exhaustion definitely push the necessity for a pre recorded piece. Have been reviewing the small video sequences that I have been building up and wondering how the small clips might hang if edited together.

Korsakow would provide an appropriate format for supporting the ideas outlined in my project and these video clips so I am going to attempt to re familiarize myself to it and use it to create a robust piece that will hopefully be of a good enough standard.

Don’t want to attempt to drive too many horses and am beginning to try to whittle back on the elements to include. Need to put all my energy in to completing a focused final work. At this point though feeling  daunted about completing the final piece really feel the need to be braver about standing by the core idea and stripping away any extraneous layers.

U2 W12 (p3)

March 25, 2010

Two short videos filmed at Empty Shop studios open work space this week

It was good to be able to hire  a studio space for a few hours to work in. The space for hire  is lovely and also the light in the building is great and Carlo was really welcoming. The building has really come on since I first saw it and Carlo and Nick have done great things with setting it up and transforming a building that has lain empty for 10 years into an exciting and vibrant arts facility.

I tried to move the ideas in the pieces on in terms of scale and begin to think about creating movement through the pieces. Also to think about how things might work for a live cast.

Empty Shop is in a busy part of Durham City and I was aware of the constant movement of passers by outside which provided a contrast of movement and intention to the balancing pieces I was trying out.

The  contrast  of the two environments and their terms of intention and engagement is something I would like to consider building in to further pieces.








U2 W6

February 19, 2010

Livestream test:

Spent Tuesday setting up a piece for a Livestream broadcast and Wednesday evening did the 1st broadcast test piece via Livestream and my website.

http://www.Livestream.com/susanmortimer

There were some technical glitches with the camera due to low battery power and trying to get adequate lighting levels.

I did a repeat of  ‘walking on egg shells’ as it was a contained piece, and fitted the constraints of the space I had to work in needing to be close to the computer and could only arrange set up within the range of the USB connection of the video camera to computer.

It was a different experience knowing there would be a live audience and I felt nervous due to a different level of accountability.

This is a response emailed to me afterwards:

‘The expression ” walking on eggshells” suggests the extreme tension and fragility of a situation likening it to the physical impossibility of walking on eggshells while doing as little damage – ideally none at all – to the eggs (or to the feet).

Rather than trying not to break eggs the feet and their owner in this film seem to be interested in the actual physical effect of this action.

The physicality of the eggs – their weight, their balance in the pile and the curved, brittle, slightly uncomfortable feeling of eggshell against eggshell changes inevitably as the eggs are stepped on and the physical focus moves from that of the eggs to the sensation of the feet squashing them – extremely satisfying, go back a couple of times for eggs that have been missed the first time round – and that of slippery sticky eggy liquid squishing in-between toes and round the feet.  In the action the sense of discomfort is not, as in the expression “walking on eggshells”, of an atmosphere of tension and fragility, but is much more physical.  It is in the slightly double-edged feeling of having squishy raw egg round ones feet – pleasant and yucky at the same time;  in the small sharp shards of broken shell that might hurt or cut the soles of the feet;  and also a background noise of “afterwards” and having to clear up.

Somehow it’s like an answer to the predicament of “walking on eggshells” – rather “you can’t make an omelet without breaking eggs”.  Probably this is too literal a reading of this film.  But the pace, build up of suspense and physicality of this event – even more so because it could be seen in real time as it was happening – act like a relief/release/tonic to the sense of tension of the original expression.’

There were some issues with the level of pixilation in the broadcast piece. Not sure if that’s down to a problem with bandwidth, video camera, or the type of Livestream package I am on so now need to do some more research in to Livestream. Also need to think about camera angles in relation to moving round such a limited space and expanding the set up.

Also need to engage with the rationale of the final piece but now have an idea for a follow up piece to test ideas out on.