Introduction to our new studio project immediately set me off in excitement when we stared off in a discussion of art history and the distinctions in pre to post modernism in relation to what was happening in society and with people at the time. As with the large project, I am going to look at and bring in aspects of art history to explore and deepend my conceptual ideas.
The idea of exploring or depicting the city in a new was is reminiscent of the Situational Shuffle introduction activity where we look at different methods to move around and interact with our immediate and everyday surrounding environment. Similarly this project is to be undertaken in the city and experiencing it in a new way. So I was thinking about the psychology of the city, the common perception being that it is a centre for turbulence and movement. The city itself is a collection of static buildings and fixtures, yet moving through the city, you feel like you should be in rush just because of the subconscious effect of environment and the movement which epitomises it.
Maybe it is as a result of recently having been to Wellington to see the Monet and the Impressionists exhibition but I started thinking about depicting fleeting effects of time, light and weather conditions. With my background understanding of film
and darkroom photography, I thought about the essence of photography is in simply just light. It is how the light is captures and present which gives us photography, from the roots of photography in pinhole cameras, to film to the digital medium today. Like the impressionists, it can be a different challenge to somehow convey the fleeting moments in 
time, the qualities of light. The simplest example of conveying this in photography is that of extended exposures. I have previously explored use of extended exposures as means of conveying movement and in fact, the city is filled with many different types of movement.
To expand upon this further, we take photographs
in terms of the final image, the containment within a single rectangular frame. Why not expose an entire reel of film in one go? Artist Darren Glass has taken a similar idea in creating abstractly shaped pinhole cameras, such as a circular shell in which the negative is contained which is then rolled down a hill, capturing the space, the colour, the light around it in a new and different way. 
So then it seems to almost negate the idea of movement to capture it in a single image but from the introductory Bullet effect exercise, it made me think about how really film and movie is also just a multitude of single still frames composed in sequence to give the impression of movement.
Also closely related to time is the idea of narrative, a beginning, a middle and end but like Glass, I prefer the element of the random and the abstract nature of the outcome. It gives a larger scope of possibility for composition into a final video into what is more conceptual and subtle. I just need to be careful to avoid it being too overly complicated like my last project so still need to keep it relatively simple yet effective in how I construct my apparatus and resulting video.
The idea of exploring or depicting the city in a new was is reminiscent of the Situational Shuffle introduction activity where we look at different methods to move around and interact with our immediate and everyday surrounding environment. Similarly this project is to be undertaken in the city and experiencing it in a new way. So I was thinking about the psychology of the city, the common perception being that it is a centre for turbulence and movement. The city itself is a collection of static buildings and fixtures, yet moving through the city, you feel like you should be in rush just because of the subconscious effect of environment and the movement which epitomises it.
Maybe it is as a result of recently having been to Wellington to see the Monet and the Impressionists exhibition but I started thinking about depicting fleeting effects of time, light and weather conditions. With my background understanding of film
and darkroom photography, I thought about the essence of photography is in simply just light. It is how the light is captures and present which gives us photography, from the roots of photography in pinhole cameras, to film to the digital medium today. Like the impressionists, it can be a different challenge to somehow convey the fleeting moments in 
time, the qualities of light. The simplest example of conveying this in photography is that of extended exposures. I have previously explored use of extended exposures as means of conveying movement and in fact, the city is filled with many different types of movement.To expand upon this further, we take photographs
in terms of the final image, the containment within a single rectangular frame. Why not expose an entire reel of film in one go? Artist Darren Glass has taken a similar idea in creating abstractly shaped pinhole cameras, such as a circular shell in which the negative is contained which is then rolled down a hill, capturing the space, the colour, the light around it in a new and different way. 
So then it seems to almost negate the idea of movement to capture it in a single image but from the introductory Bullet effect exercise, it made me think about how really film and movie is also just a multitude of single still frames composed in sequence to give the impression of movement.Also closely related to time is the idea of narrative, a beginning, a middle and end but like Glass, I prefer the element of the random and the abstract nature of the outcome. It gives a larger scope of possibility for composition into a final video into what is more conceptual and subtle. I just need to be careful to avoid it being too overly complicated like my last project so still need to keep it relatively simple yet effective in how I construct my apparatus and resulting video.
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