Re: [-empyre-] Week 2 of the April 2018 discussion: New Media Documentary Practice

[Toby Tatum]

--empyre- soft-skinned space--Yes, of course! That is why your name was familiar. I can see now how Best of 
Luck with the Wall (variant) ties in with your installation at Stuttgarter 
Filmwinter. I can see now that the unrelenting gaze of the surveillance camera 
or drone is something you're very interested in, as well as the potential for 
subverting those machines. 
Best Wishes,
Toby


 
Toby Tatum

http://www.tobytatum.com/  



Toby Tatum's films are distributed by Collectif Jeune Cinéma  



Recent interviews online here & here

 

On Tuesday, 10 April 2018, 12:42:29 GMT+1, Garrett Lynch 
 wrote:  
 
 Hi Toby
Yes we met recently at Filmwinter when you showed your work The Signal.  I 
really liked the sonic composition that accompanied that and Grottoes and 
Groves is just as impressive.
The length of our work (apart from the necessity of the 34 hours) came out of 
our thinking about one interpretation of expanded cinema (in regards to time 
literally expanded) but also watching both videos and music on YouTube.  Videos 
that petform a technical feat of being 'the longest video on YouTube. ..' and 
audio being time stretched to several hundred percent, usually using Paul 
stretch.  Ironically our video surpassed most if not all of those video's 
length but became unrecognisable by YouTube,  Vimeo and even most html5 players 
(in the case of the latter they can't handle the length of the time code - 
luckily I did find one that could).
With all this in mind folding our work back to the web makes a lot of sense for 
us as most film festivals can't accommodate the length so exhibiting at 
Invisible Geographies is ideal.  We've been luck enough as well to be invited 
to exhibit at EMAF next week which is running for a month and they will run our 
work continously so it should be at a different point at the same time each day.
Not sure about geological or reptian time but certainly a non-human/machinic 
vision of the space, perhaps similar to a drones, and that fits well with what 
is occurring on the border (hi-tec surveillance that's even outsourced to the 
public, which we found horrible).

regards
Garrett
_
garr...@asquare.org
http://www.asquare.org/

Artist in residence at:
https://www.facebook.com/peripheralforms

On Mon, 9 Apr 2018, 9:32 p.m. Toby Tatum,  wrote:

Thanks for this Garrett. I'm watching this now, although I think a different 
kind of watching is going to be be required of me for this piece. I'm going to 
leave it rolling and drop in as and when. You're certainly at the outer limits 
in terms of digital duration with this one. It suggests to me something 
non-human, the relentless of some kind of robot or perhaps we're in the terrain 
of geological time, or the time of reptiles (actually the subject of non-human 
time-perception I find fascinating). I'm very drawn to the correlation between 
the experience of watching your film and the experience of being in those 
immense landscapes.

By way of introduction my name is Toby Tatum and I'm a film-maker from the UK. 
The piece I contributed to the FLEFF is called The Toby Tatum Guide to Grottoes 
& Groves. The piece resulted from a self-initiated vision quest into the 
twisted labyrinths of the forest, specifically the ancient woods near my 
Hastings home. The FLEFF curators have written an insightful piece of the 
project here should you wish to take a look: 
https://www.ithaca.edu/fleff/invisible_geographies/tobytatumguide/   
Regards,

Toby


 
Toby Tatum

http://www.tobytatum.com/  



Toby Tatum's films are distributed by Collectif Jeune Cinéma  



Recent interviews online here & here

 

On Monday, 9 April 2018, 19:49:07 GMT+1, Garrett Lynch 
 wrote:  
 
 Many thanks to Dale Hudson for inviting us to participate in the discussion.  
Frédérique and myself are looking forward to some interesting discussion on the 
subject of New Media Documentary Practice but also on the ideas and issues that 
emerge from our work as part of Invisible Geographies.
Our work Best of Luck with the Wall (variant) and an introductory text about it 
cane be found on the exhibition site here: 
https://www.ithaca.edu/fleff/invisible_geographies/bestofluckwiththewall/

When invited to contribute to -empyre- on the theme of new media documentary 
practice and in particular to "think about digital media and environmentalism 
across vectors that are visible and invisible, material and immaterial, audible 
and inaudible", our first thought was that documentary is not the principle 
purpose of Best of Luck with the Wall (variant).
It is the purpose of Begley's original film, Best of Luck with the Wall, to 
document the absurdity of building Trump's US/Mexican wall (its scale and so 
forth).  However, our 'variant' is foremost a critique of the form Begley's 
film as comment/criticism takes - a time/space compressed experience of 
travelling the 

Re: [-empyre-] Week 2 of the April 2018 discussion: New Media Documentary Practice

[Garrett Lynch]

--empyre- soft-skinned space--Hi Toby

Yes we met recently at Filmwinter when you showed your work The Signal.  I
really liked the sonic composition that accompanied that and Grottoes and
Groves is just as impressive.

The length of our work (apart from the necessity of the 34 hours) came out
of our thinking about one interpretation of expanded cinema (in regards to
time literally expanded) but also watching both videos and music on
YouTube.  Videos that petform a technical feat of being 'the longest video
on YouTube. ..' and audio being time stretched to several hundred percent,
usually using Paul stretch.  Ironically our video surpassed most if not all
of those video's length but became unrecognisable by YouTube,  Vimeo and
even most html5 players (in the case of the latter they can't handle the
length of the time code - luckily I did find one that could).

With all this in mind folding our work back to the web makes a lot of sense
for us as most film festivals can't accommodate the length so exhibiting at
Invisible Geographies is ideal.  We've been luck enough as well to be
invited to exhibit at EMAF next week which is running for a month and they
will run our work continously so it should be at a different point at the
same time each day.

Not sure about geological or reptian time but certainly a
non-human/machinic vision of the space, perhaps similar to a drones, and
that fits well with what is occurring on the border (hi-tec surveillance
that's even outsourced to the public, which we found horrible).

regards
Garrett
_
garr...@asquare.org
http://www.asquare.org/

Artist in residence at:
https://www.facebook.com/peripheralforms


On Mon, 9 Apr 2018, 9:32 p.m. Toby Tatum, 
wrote:

> Thanks for this Garrett. I'm watching this now, although I think a
> different kind of watching is going to be be required of me for this piece.
> I'm going to leave it rolling and drop in as and when. You're certainly at
> the outer limits in terms of digital duration with this one. It suggests to
> me something non-human, the relentless of some kind of robot or perhaps
> we're in the terrain of geological time, or the time of reptiles (actually
> the subject of non-human time-perception I find fascinating). I'm very
> drawn to the correlation between the experience of watching your film and
> the experience of being in those immense landscapes.
>
> By way of introduction my name is Toby Tatum and I'm a film-maker from the
> UK. The piece I contributed to the FLEFF is called *The Toby Tatum Guide
> to Grottoes & Groves*. The piece resulted from a self-initiated vision
> quest into the twisted labyrinths of the forest, specifically the ancient
> woods near my Hastings home. The FLEFF curators have written an insightful
> piece of the project here should you wish to take a look:
> https://www.ithaca.edu/fleff/invisible_geographies/tobytatumguide/
>
> Regards,
>
> Toby
>
>
> Toby Tatum
>
> *http://www.tobytatum.com/ *
>
>
> Toby Tatum's films are distributed by Collectif Jeune Cinéma
> 
>
>
> Recent interviews online here
> 
> & here
> 
>
>
>
> On Monday, 9 April 2018, 19:49:07 GMT+1, Garrett Lynch <
> garr...@asquare.org> wrote:
>
>
> Many thanks to Dale Hudson for inviting us to participate in the
> discussion.  Frédérique and myself are looking forward to some interesting
> discussion on the subject of New Media Documentary Practice but also on the
> ideas and issues that emerge from our work as part of Invisible Geographies.
>
> Our work Best of Luck with the Wall (variant) and an introductory text
> about it cane be found on the exhibition site here:
> https://www.ithaca.edu/fleff/invisible_geographies/bestofluckwiththewall/
>
>
> When invited to contribute to -empyre- on the theme of new media
> documentary practice and in particular to "think about digital media and
> environmentalism across vectors that are visible and invisible, material
> and immaterial, audible and inaudible", our first thought was that
> documentary is not the principle purpose of Best of Luck with the Wall
> (variant).
>
> It is the purpose of Begley's original film, Best of Luck with the Wall,
> to document the absurdity of building Trump's US/Mexican wall (its scale
> and so forth).  However, our 'variant' is foremost a critique of the form
> Begley's film as comment/criticism takes - a time/space compressed
> experience of travelling the wall.  Given the social problems building the
> wall will create, i.e. destroying US/Mexican relations when the US should
> be building better relations with its neighbours, we wanted the experience
> of the film to be the 

Re: [-empyre-] Week 2 of the April 2018 discussion: New Media Documentary Practice (Garrett Lynch)

[H HHP]

--empyre- soft-skinned space--Quoting Dorit:

*“Invisible Geographies are often at the root of what enables political
amnesia”.*

Is it really, numbness, or political amnesia that fuel the terrain of
“Invisible Geographies” within the r[d]eterritorialized “Land of Israel” in
the different Jewish ethnic communities which compose the state of Israel?

Horit Herman Peled

Horit Herman Peled
2016-2017, Soho, London

http://www.espacemultimediagantner.cg90.net/the-collection/?lang=en
horit.com
Yoav Peled & Horit Herman Peled, *The Religionization* of *Israeli Society*
(Routledge, forthcoming*)*


On Tue, Apr 10, 2018 at 5:33 AM, Dorit Naaman 
wrote:

> --empyre- soft-skinned space--
>
> Thank you, Dale, for the invitation to participate in this discussion.
> Invisible Geographies are often at the root of what enables political
> amnesia. My project “Jerusalem, We Are Here” www.jerusalemwearehere.com
> is an interactive doc that digitally re-inscribes Palestinians back into
> the neighborhoods from which they were dispossessed by the 1948 war.  Most
> Jerusalemites know that the best neighborhoods in Jerusalem were Arab
> neighborhoods, but hardly anyone thinks about the people who lived in those
> houses, the Palestinians who lost everything by that war.  Similarly,
> hardly ever do the Anishnabe and Haudenosaune people of Katarokwi,
> considered in what is now Kingston, Ontario, Canada, or my other home.  The
> political and historical conditions of erasure are different, of course,
> but the fact remains that the present dominates our sense of space, and it
> is not easy to see that which is not materially present in-front of us.
>
>
>
> My impetus to make “Jerusalem, We Are Here” was born out of a sense of
> urgent need to make visible, that which has been erased and obfuscated.
> Digital media enabled a platform in which we can navigate the Israeli
> present tense visually (through google streetview and our own
> intervention), but are surrounded by a soundscape that is Palestinian and
> from the 1940s. As we meander virtually down the streets of Jerusalem, we
> meet participants who collaboratively made short films about their homes.
>
>
>
> In a sense I try to de-territorialize (to use Garrett and Frederique’s
> suggestion) a space, in order to defamiliarize it for Israelis, and invite
> the Palestinians back, without a need for permits, checkpoints, and intense
> Israeli scrutiny and surveillance.  But I also hope to ignite a question
> mark about the spaces we inhabit more generally, a question about what is
> it that we don’t see, and why?
>
>
>
> ___
> empyre forum
> empyre@lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
>
___
empyre forum
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