Samuel Beckett // 04

Analysing a set of movie clips featuring ‘related’ dance moments said to be inspired by the original scene from Bande à Part shown below.

Bande à Part; 1964

A couple of observations;

  • 40 SEC / KID IN WINDOW (is this related to time? why have a shot so long showing so little visually? how can implied meaning be implemented through low visual changes?)

  • Lack of colour within the pieces is caused by the traditional techniques used, would colour effect the final outcome however? What about if it would be a choice? Should colour be used?

Satantango; 1994

Taking a few stills from this ten minute scene of Satantango there are both parallels and direct contrasts to Godard’s Bande à Part scene above. The first image is an overview of the scene in it’s whole. Seven of the characters are visible, the two couples, the musician, bartender and trouble-maker. Throughout the dance social connections and relationships are shown and developed within the movement itself and with other smaller details. Each character seems to have their own goal within the performance though some are perhaps easier to establish. The middle image is a 40 second clip of an unblinking child, apparently watching the adult scene with a washed out gaze that seems to have limited emotion. Are they impressed? Worried? We aren’t given a clear opinion though they are certainly interested in the scene they see.



Samuel beckett // 03

A few notes on the project design;

I think it’s clear now I would like to focus on installation and within this focus more heavily on the themes of time and absurdism than perhaps the texts of Beckett themselves. The spiral concept I sketched before fits well within the idea of projected time, particularly if I focus on integrating the audience experience further to the concept of time by changing and directing (perhaps with windows?) exactly when certain elements are visible within the physical route.

The design currently features two (suspended?) walls that spiral tighter together but never meet. Together they create two paths, one which gradually narrows (accelerates) and the other moving further away (decelerating) and gradually spacing out.

In terms of content, I’m moving more heavily towards the projected video idea. Currently i’m thinking about the kinds of images that could be produced within the feeling of time itself - especially looking at the passing of time and how it can be sped up / slowed down. How do we experience time? Is it easier to understand fast-paced moments from further away (like through a window looking back towards the central point?)

Moving forward for this week, I am going to design a set of small scene or ‘moments’ that can be captured on film and fit clearly into a particular part of time which is easily visible. If a moment is fast, slow, or perhaps only truly visible from far away. There’s a lot of questions still to go before I’m safely grounded within this idea - such as how big should videos be? Can size also relate to time and speed and how we experience it?


Samuel Beckett // 02

An elaborated sketch of the ‘snail design’ with development. Thinking further on the themes of acceleration and deceleration, this walk-through installation could feature videos and text projected on two spiralling walls which come together at a central point. The blue path marking an entrance (01) gradually gets tighter and could have closer blocks of information and video as you reach the centre to show the acceleration element. Leaving the spiral, via the red path (02) has the reverse effect and features with content could become gradually more spaced out, highlighting the concept of deceleration and relating to the ‘information overload’ theme that fits well with Beckett’s social criticism on language and image being used without meaning.

A thought to develop?


The Objective View

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An update on the ongoing theory assignments for semester 02. Focusing on objective, and then contextual descriptions of images. One personal piece (self produced), an ‘iconic’ image of our choice and later using a piece traded with a classmate.


Tinctoria // 01


For the first session of the Tinctoria off course we were tutored and guided to create four natural dye baths from Indigo, Genista, Cochenille and Madder. Once each formula was made, we could experiment with colour and pattern variations by dying our own samples of different materials for set amounts of time. Through this experimental practice we each began to build up our own collection of personal samples which give a colourful overview to the options available with each dye. Above are a few of the samples I created from the four dye baths with wool, cotton and hemp.


Samuel Beckett // 01

The first mindmap

The first step with any new project should perhaps always be research, typically followed by some rough initial ideas which can be later developed (or rejected) as part of a progressive plan. Staying true to this method of approach, the map above marks some of the more interesting details, themes and focal points from the first week of reading. Looking into Beckett’s literature, stylisation and personal life brought up some continued similarities such as the passing of time, character’s use of language (and a social criticism on this), uncertainty towards ideas such as the past and future as well as many philosophical observations.

From this initial research I wanted to put down a few (very) rough thoughts and ideas to come back to later, if not purely as something to look to for inspiration in case of any creative block. Perhaps it’s important to comment on my clear focus on design and ‘the end result’ rather than message, meaning and process. This might be something to work on first as more of a challenge rather than pointing myself so heavily towards material choices so early on?