General Principles of Intellectual Property: Concepts of Intellectual Proper...
Presentation for mFest'09 by Jackie Calderwood
1. Moving image:
Creating conversations across place and community
mscapeFest „09, Fontys 25th November 2009
Jackie Calderwood
PhD Research Student: Institute of Creative Technologies,
De Montfort University, Leicester
Resident: Pervasive Media Studio, Bristol
Founder Member: Strata Collective, Somerset
2. Work with Moving Image and Pervasive Media:
• e-merge_a filmmaking mediascape
Commissioned for innovation programme,
Birds Eye View film festival, ICA, March 2009
intro Funded by ACE (National Lottery),
supported by Pervasive Media Studio, The Royal Parks
Public walks in St James‟s Park, films & traces
on web. Also Sandpit*10, Southbank Arts Trail,
Workshops with Wiltshire College, Worle School
• Ambience
Commissioned by Bristol Festival, supported by
Watershed and Pervasive Media Studio, Sept 2009
UGC: Open call for films, mapped into mediascape with public
event (PDAs) and resulting films on location via large format
projection.
• Soundlines
Current educational project with Strata
Collective - to April 2010
Sonic mediascape, with film and web, as a tool
for engagement with sssi local landscapes and
the human journey through time.
4. e-merge_a filmmaking mediascape
E-merge
intro
Filmmaking by walking, for a public audience
Urban/rural
Collation and re-presentation on web
Intention for gallery/public space
parallel playback
www.e-merge-walks.blogspot.com
8. Feedback at Birds Eye View:
“Fun!” “Intriguing” “Unusual and interesting”
E-merge evaluation & feedback
“The mediascape was fantastic; this was my second visit as it was
so brilliant the first time. It is really inspirational.”
“E-merge was a lovely and memorable way to enjoy the park!”
“Appreciated the way in which the music and headphones cut me off
From my surroundings in order to make me more fully appreciate them!”
“Supportive environment for women; innovative; mediascape made the
familiar strange - which was wonderful!”
Online Survey:
“The music allowed me to focus on my surroundings more; when watching the films
online some visuals in the park became more focused;
I actively took different routes when walking to see the results.”
“It was nice to have the opportunity to watch the film after the experience … like a
home video.”
“It was a really inspiring experience which made us think about the park both spatially,
teleologically, and temporally. The mediascape brought out concepts of the park in both
time and space (photographs and maps). ..the right balance was struck between the
artistry of the footage and the flexibility of this footage as the building blocks for the
construction of the personal narrative of ones film.”
10. ”The main interest of the mediascape is in the way it explores visual memory.
It implies that the way we build up a mental picture of a place is not topographic but defined by incident.
When I now try to picture St James‟s Park, I see neither a map nor the view from a particular spot; I see
the preening swan or the passing cars from Jackie Calderwood‟s videos.
This is perhaps the overriding impression left by the mediascape: a confrontation with the total subjectivity
of our perception. Easily acceptable as a philosophical principle, it is much more disconcerting in a practical
demonstration, not least because it highlights the impermanence of our mental picture.
I suppose that if I were to visit the park enough times and walk through it along enough different routes, a
ll these new memories would be overlaid until my memory of it become more objective and less linked to
specific occasions.
It also implies that if we remember a place in terms of the incidental observations made there, a
Alexander Starritt, a-n review
subsequent absence of those things would make it a different place in our minds. Since my memory
of St James‟s Park is now built around swans and cars, a park without swans and cars would, at least in my
personal visual memory, no longer be St James‟s Park. Perhaps it is this that explains the profound a
lienation we often feel when returning to a well known spot after many years. The incidental,
superficial changes that we notice make us feel as if we have somehow landed in another place, not the one
we knew and loved, but somehow another, occupying the same space.
And it is for this reason that a greater temporal dislocation would have been an interesting addition
to the mediascape. The inclusion of videos from other seasons or, even better, from the time when the park
was used to graze cattle, would have heightened that sense of subjectivity, of the fundamental unknowability
of a place, which remains even after the park is forgotten. It is this, combined with the realisation that
our places must die with us, that allows Calderwood‟s mediascape to elicit a feeling of profound transience,
a feeling that nothing, nowhere, will ever be the same again.”
Review of e-merge_a filmmaking mediascape
by Alexander Starritt, March 2009
Published on artist newsletter interface
www.a-n.co.uk/interface/reviews
13. Clodagh and constance quote - scrawling
„Location sensitive media leads us to „scrawling‟ on our physical
environment as a way of articulating and sharing itineraries and spatial
stories that might otherwise be invisible within that public space.‟
Clodagh Miskelly, Constance Fleuriot (2006)
Layering community media in place. Digital Creativity
Vol.17, No. 3, pp. 163-173
15. e-merge at Worle School:
2 day intensive workshop
Process at Worle
Year 10 students
•E-merge (London) remapped to
schoolplaying field
•Stimulus for reflection
•Create content - photos, audio, video
(editing)
•„Welcome to Worle‟ - play on entry
•„Worle Students‟ e-merge‟
•2 x Primary visits
•Discussion between student groups
16. Reflections (year 10):
London: Worle:
Year 10 Reflections London and Worle
Birds Buildings - different viewpoints
I like the squirrel running through the Grass
trees Different height levels
Trafulgar SquarE Friends and some lesson
London Eye I noticed how different the school feels
I liked the movement of people and cars with no children
amongst large monuments Environment
Sped up sunrise, walking. Animals
Time manipulation. D.T.
I liked the horses and animals Trees
Liked the moving people part Worle was very flat
Birds Show the school animals
Dappled sunlight Environment
Nothing except PE
Environment
Animals
Sports
Facilities
21. „... digital technologies have a role in developing democratic forms of
cultural participation through the potential technologies
Roz Hall quote: democratic digital
for dialogue about that which is
being made... People‟s priorities are always shifting, reflecting changes in
their context and their relationship to it. ..‟
Roz Hall (2005) p.32. The Value of Visual Exploration:
Understanding Cultural Activities with Young People,
The Public, Birmingham
22. www.ambience2009.blogspot.com
Ambience
Collaborative Filmmaking Mediascape
for the Bristol Festival October 2009
Supported by: Pervasive Media Studio, Watershed, Bristol Festival
24. Area of Research:
Authoring
User Generated Content
For pervasive consumption
(collaborative systems)
Subtlety of Interaction owning experience
Sensing for rich interaction
(personal sensors)
extending languages
of communication Moving Image
& pervasive
computing/delivery
(accessibility) Underlying Questions
Affect/effect of
Community Interaction •Urban/rural
Community imaging Creativity •Time/timelessness
(crowd delivery) knowledge
extra-device, •Movement/stillness
„communication‟
freedom to experience •Inside/outside
•Maker/artifact/consumer
„Ownership‟ of choice & creativity
Experience as Synthesis/paradox?
Relationship of individual with the whole
25. siegler
„Reality is conjunctive, a complex movement where each one tries
to “find one‟s place.” ….I cannot resist by protesting: I must have
intelligence about it, that is, be in excess of it, and by that same
fact already be, in advance, inventive.‟
Bernard Stiegler (2008) p.73. Trans: Barison, D.
Acting Out, Stanford University Press
27. Ken robinson - creativity
„Creativity is not a single power that people simply have or do not have,
but multidimensional... an attitude: a willingness to reconsider what we
take for granted. ... intelligence is essentially creative, that our lives are
shaped by the ideas we use to give them meaning. Creativity is a process of
seeing new possibilities. We all have creative capabilities but these are
related to different media and processes. Realising these capacities relies
on being in control of the medium – on having the necessary skills –
combined with the freedom to take risks. The relationship between
knowing and feeling is at the heart of the creative process.‟
Sir Ken Robinson (2001) p.137. Out of Our Minds:
Learning to be Creative, Capstone Publishing, Oxford
