UV [1, 2 and 3] Pole Merge

I decided to take the UV 1, 2 & 3 series and edit them in three different ways, to determine what works best withe the Silent Light Pole Videos [UV] that was captured, which will later influence other editing techniques, especially when working with this, or similar footage.
Within UV 1, I used a slow merge between the clips, which gives the viewer a second perspective for some significant time throughout the video. This gradual transition allows you get used to the next clip, before the other disappears. It also allows the better parts of the videos to be shown, especially when the camera comes in and out of focus. One of the cameras also shows the UV might brighter, so this transition allows the white to calm down, and for people to have a break before moving on. I enjoyed the smooth transition of the video, as it kept it very calming, rather than rushing onto the next move, or the next piece of information.

Within the second set of videos, I decided to cut between the clips. I found that this was not as successful as the first as primarily the clips were of different qualities, but they were also at different heights, angles and distances to the pole, which made them difficult to work with and match. With the UV being brighter in one clip than the other, there is a large difference in brightness between the two, making the video vary garish, then very dark. From this editing experience, I can confirm that I preferred the slow transition between the two different camera angles.

Within the last of the UV series I decided to do a faster merge, to determine the middle ground between the two above edits. I found it was to be more successful than Merge UV 2, and contained many of the transition aspects that I preferred in Merge UV 1. I did find, however, that this was more ‘showcase’ than ‘art piece’, as the moves were clear and defined within the video, but the shorter transitions took away the smoothness, the juxtaposition of the camera angles, and the strange effects that were created.

Overall, I found this small exercise to be very useful and can confirm that I have a preference for the slower, more calming transitions within Merge UV 1. The quicker transitions lost the magical and intriguing layering that this video created, and almost rushed the viewer through the video.

Strobe Merge Pole

I decided to take some inspiration from Pole GoPro Experiments, and edit some of the videos together. Here I took Strobe DSCN and Strobe 00, which had the same routine, and cut the clips together to make a long stream of the two clips. The planning of this worked well, however the two cameras were at different angles, one camera was out of focus much of the time, and the other camera was facing two doorways and at a different angle to the first. In theory, it would have worked, but the execution of footage would need to be dramatically improved.
When adding audio, it was found that the audio did not match with the visual, and the difference in quality between clips and between the visual and audio was very distracting.
Although this was not entirely successful, I wanted to try to merge clips together from two different perspectives by using a different technique, and to try to find a merged or edited clip that would match with the audio better.

Sound Manipulation Light Pole

I felt that Silent Light Pole Videos [UV] and Silent Light Pole Videos [Strobe] both clearly and cleverly highlighted the aspect of manipulation of space and movement, however I wanted to see if they would continue to fit in with the theme on Feminism and Pole Performance. I therefore decided to take Feminist Poem 3 Audio, 4 Speakers, and manipulate this within the video.
I initially placed the audio within the video without editing, and found that it did not make sense with the strobe lighting. There was no link between the two and I found that I somewhat became bored of the clip quite quickly. It was also because you were unable to view the performance as a whole, leaving you clueless for much of the time. I did enjoy the aspect of the audio moving, crawling and running around, to be very energetic, and the juxtaposition with the smooth, calm and controlled movements on the pole.

I decided to add in the original speech for a second time, but with a UV clip instead. I thought that this may change my mind and may be a better fit with each other. Once again, there was no direct link between the two, however I found that it was a better accompaniment than above. Like above, there was a juxtaposition with the speed of the movement in the audio, versus the speed of the movement in the video. Although there was this difference, both the audio and the video were calm and parallel with each other. After looking further at the video, however, I believe that a further exaggeration of the moves, and holding some of them for a couple of seconds longer will emphasise both the juxtaposition and marriage of visual and audio.

For the third video, I decided to have a greater influence on the audio of this track. As you listen, there is a significant change to the speed of the audio, creating a larger juxtaposition between the visual and the audio. When watching the video, you also get the sense of a slowing in the performance. Especially when listening to the faster sections, after listening to the 50% speed parts, you gain the sensation that this is almost faster, even though the strobe and the performance is playing at the same speed. Some of the audio is edited in such a way that you struggle to hear what they are saying. If I were to manipulate the audio in this way again, I would ensure that you would be able to hear each component without a struggle with the visual aspect of the video.

Lastly, I added the breathing that can be heard at the beginning of the clip, into several locations of the audio, and altered its speed throughout. This is put in so that you would not notice it unless you had heard Feminist Poem 3 Audio, 4 Speakers many times, and knew what you were listening for. This does add an extra step of depth within the piece and manipulates the viewer into believing that there is perhaps another person, even though there is only one within the performance. This manipulation of the audio, gives a different outtake on the manipulation of movement and the space.

I enjoyed manipulating and altering the audio, which in itself changed the way that you see the video. Although for much of the time the audio did not match up with the visuals, especially when given no context or mention of myself on the pole, I found it to be a useful experiment to try and determine my next steps.

Silent Light Pole Videos [Strobe]

I wanted to manipulate the original Strobe Light videos that were displayed in Sound to Light. All of these had a backing of Feminist Poem 3 Audio, 4 Speakers, which I used for timings on the pole, and also partial set up of each performance. I cut the clips in order for them to only show the performance. I also deleted the sound within the video, which gives an eerie silence to each of them.
Within Strobe 00 and Phone Strobe 00, the camera struggled to focus with the constant strobe lighting, much like it struggled within Silent Light Pole Videos [UV]. As the majority of the footage is blurry, it makes it even more difficult to determine the figure in the videos. I am unsure as to whether it makes these specific clips more successful or not, but I do know that this is not what I envisioned for the piece to look like.
In Strobe DSCN, there was a pillar and two doorways in the background. Although I did not realise this when filming, it was interesting to see the effect of the strobe light on the opposite side of my body. In the other ‘DSCN’ videos, there is a clearer definition when you are able to see the performance compared to the ’00’ footage. This is what I wanted to achieve within the clips of the performance. The use of the black top and shorts also clearly defined the body against both the white and the black backgrounds. Within these videos, however, you can still see that the camera struggles with the strobe light, which made the videos less successful in terms of a full flash. The use of the part flash, on the other hand, gives another perspective of the work, and a certain dash of unpredictability, as you are never sure what you will be able to see next, and when. This highlights the manipulation of space within the work.

Silent Light Pole Videos [UV]

I wanted to manipulate the original UV videos that were displayed in Sound to Light. All of these had a backing of Feminist Poem 3 Audio, 4 Speakers, which I used for timings on the pole, and also partial set up of each performance. I cut the clips in order for them to only show the performance. I also deleted the sound within the video, which gives an eerie silence to each of them.
In the ’00’ videos, where the camera often could not focus on the subject [myself], it creates an extra glow around the main body. Also, specifically within these videos, you are able to see the UV glowing top and shorts, as well as my body performing the moves. There is something that unsettles me about this, as it is simply the glow from the clothing, and yet it allows you to concentrate on the movements of the body. Although I did not want viewers to see the body and the movement of the extremities within the first two videos, but it allows to you focus on the body, and not the small slice of daylight in the background.
Within the ‘DSCN’ videos, there is a clearer definition of the clothes versus the body. This is what I wanted to achieve within the clips of the performance. The focus of the camera allows the clothing to be seen, and nothing else, giving an appearance that they are moving of ‘their own accord’. The light of the clothing is also less garish, compared to the ’00’ clips where it is somewhat obtrusively bright. Within the third set of videos, in the third performance, I put scraps of white material around my wrist, arm, ankle and foot, creating four more objects for the UV light to catch and for the audience, or viewers to concentrate on. I feel like I preferred the last videos as it allowed the viewing of the movement of the extremities, which is a key aspect of pole and shows the manipulation of space better compared to the other two performances.

Sound to Light

I enjoyed using sound within Feminist Poem [Extended] Audio and all the audio work leading up to Year 2 Spring Exhibition. I was particularly pleased with the way in which you could not visually see the work, but it created an invisible sculpture. I wanted to move away from such a sound-heavy piece, to having parts of the work available to view. This is not the large juxtaposition between Pole Performance and Feminist Poem 3 Audio, 4 Speakers, however it still leaves some questioning for the viewer. Bringing back some of the visuals, I am still able to show the manipulation of space and movement, and also discomfort for the viewer.
Playing around with light, I wanted to create a moving sculpture of myself, that is perhaps only visible at split seconds. Through inspiration from Heather Cassils, and her work with large blocks of clay and the camera flash as the only part of the performance that is seen, I wanted to look at strobe lighting.
WARNING: the videos below contain flashing images. They have been identified to potentially trigger seizures for people with photosensitive epilepsy. Viewer discretion is advised.
Unfortunately, the cameras were unable to pick up some of the flashes, and only kept up with half of the flash for the majority of the time. It was very disorientating being on the pole while this was happening, but I managed to position the strobe light so that it did not directly point at me. One of the cameras that I used could not keep up with the darkening of the image and came up blurry.
I originally used a strobe light on the ‘iTorch’ app on my phone, as I thought this was relatively bright and also gave a stuttered strobe. This was not as bright as I thought it would be, even when standing in the room, and I was disappointed with the turnout of the video footage. I had in the background Feminist Poem 3 Audio, 4 Speakers in order to gather how long that I had been on the pole, however I was unsure as to whether to keep this audio in the background. These below are the original videos, and edits are to come.

I then moved onto using the strobe light, which was more effective and turned out brighter, which is what I wanted. As mentioned before, I felt somewhat disorientated when on the pole with this light, however it encompassed the room, which is what I wanted it to do.

I realised after capturing the Strobe DSCN Original footage that I had the pillar, and doorways in the background. This was unprofessional of me, however it did allow me to see the effect of the strobe light on the opposite side of my body. I re-captured the footage in the original position of the camera.

I also decided to have a faster strobe light as this may have created a different effect with further disorientation. This is primarily where the camera struggled, and you can only see the top half, and rarely the whole of my body. The strobe light itself was positioned just behind the camera, meaning there was no flash directly into the lens. However, it still struggled significantly.

I preferred the outcome of the slower strobe in Strobe 00 Original, Strobe DSCN Original and Strobe 2 DSCN Original. This is because there is much more mystery to the piece, and creates the effect similar to Heather Cassils; where you are unsure where the performance, and the performer are going to be next. With the movement around the space, and around the pole, it is easier to confuse the audience, or those who are watching the video. There is a small part of me that wants to add something else to this, as I feel as though it needs something more.
Instead of hanging up on the missing piece of the strobe pole pieces, I decided to play around with other effects and lighting, including that of black lighting, or UV. I wore a white top and shorts in order to capture the footage for this, and positioned two cameras in the room in order to see the effects of the UV light on my body and clothing. Again here, one of the cameras struggled with the lighting, and often appears blurry. Although this is annoying, I took it in my stride when editing.
I was inspired by the modesty and innocence of John Poppleton‘s paintings, and the use of black light by both Poppleton and Bogi Fabian. Fabian also heavily manipulates the space that she works in, somethings that I want to continue to concentrate on while using UV lights.
Within the first performance, I noticed that the UV lights were lighting up the right hand edge of the footage. It adds an eerie glow to the video and adds almost a supernatural vibe to the piece.

After realising the mistake of putting the UV light too close to the camera shot, I moved it to another plug socket in the room, and began filming again. Once again, one of the cameras struggled to focus on my body. I was enjoying the effects of the UV lighting on the body and clothing, and how it created another version of minimal viewing of a performance, or video.

I wanted to change things up a bit from the previous two performances and sets of videos. There was a certain pleasure to seeing the body and how this moved throughout the performance, however a key part of pole is the extremities. You hands and feet, along with your arms and legs, move around in order to create shapes and moves. These movements were not seen through the use of the top and the shorts, so I decided to put a piece of white cloth around my wrist, arm, ankle and foot, in order to capture these movements and to further manipulate a wider circumference of the space.

I enjoyed using both the UV lights and strobe light in order to create new effects on and off of the screen. There was a certain level of manipulation of space that was achieved, that I believe could not have been achieved by other means. By manipulating the lighting, I was able to control the parts that the audience and viewers see of my body, of the performance and of the space as a whole. I was also able to successfully create the middle ground between the visual juxtaposition between Pole Performance and Feminist Poem [Extended] Audio.

Bogi Fabian

Bogi Fabian is a European artist who became popular with her unique fantasy UV and glow in the dark paintings. She took a few years to master this ‘multiluminous’ technique that allows the creation of a unique ambient space, where you can appreciate the artwork both in the daylight and in the dark. It has been said that Fabian wanted to create spaces when relaxing and living becomes an experience.
I am intrigued by Fabian’s work and the technique used as there is a great manipulation of materials in order to gain the desired affect. It is this manipulation of materials that I would like to bring into my practice, perhaps through the use of UV and glow in the dark substances within the manipulation of space.

John Poppleton

John Poppleton uses black light to create beautiful ‘Bodyscapes’, strange paintings and intriguing photographs. Poppleton says on his website that he has ‘always been in awe and wonder of the beauty found in nature’ (Poppleton.com). This awe has led him to include nature in many of his works. Much of his career has also been involved with brides and weddings, showcasing his earlier portrait photography passion.

“Black Light Bodyscapes combines the beauty of the female form with the splendor of God’s creations found in this world and the worlds beyond. Using temporary fluorescent materials the scenes are painted directly on the skin and photographed in modest poses to create a piece of art that is a unique as you are.” – www.poppletonportraits.com

I am inspired by the use of the fluorescent paint and both the camera and bodily manipulation that takes place. The modesty behind the portraits that he takes implies a sexual nature, but is innocent, especially when the model has a beautiful UV portrait on their back. I would like to bring this modesty and innocence, along with the possible use of UV into my own work.

Tino Sehgal

Tino Sehgal can be considered a choreographer, organising performances that are the ‘dance for museum settings’. His performances are organised wholes, bringing large groups of people together, often in order to break the fourth wall. In the Tate, Sehgal directed people to sing in harmonic chorus with each other, walking backwards through the large Turbine Hall. These performers then broke the fundamental fourth wall between themselves and the audience, coming into conversation with them. This break in the fourth wall was intense for those who experienced it, and the audience were confused, bewildered and unsure how to act.
Using the experience of breaking the fourth wall and making those watching feel uncomfortable, he is able to choreograph very interesting and captivating performances.
Sehgal does not document his own work, but rather lets the audience do this if they so wish. One of the main elements of being at a performance of his, is to be present, to have the full effect of the uncomfortable upon you.

Year 2 Spring Exhibition

The Spring Exhibition was a little controversial, as some believed that we should have not had this because of the minimal support we had over spring term, due to lecturers striking. The exhibition, however, went ahead. The poster we used [below] was created using the top titles the year group voted for, as many of them had the same number of votes, and was created by Clémence Muller.
I placed my sound piece in a room with several other pieces that looked at feminism, the body and identity. Instead of clashing with the artworks that were already in the room, I felt as though my sound piece enhanced them, and created an invisible sculpture in the spare space around the works. Although this connected the pieces within the room, I also felt that the room wasn’t particularly inviting. There was a piece that covered much of the door, and although there was a sign saying for people to duck in, many peered in and then moved on. This barrier meant that they were unable to listen to my piece and the impact it had on travelling around the room.
Within these, I also uploaded them to YouTube with images of my Pole Performance. I did this, as I found it links the movement that you can hear in the audio pieces, with that of the movement in the performance and in the accompanying videos. I also put these on for ease, as I wanted someone to listen to them, and to associate my previous feminist work with this audio. When showing these, however, I did not show the videos, but rather audio only, meaning that many people would not have this association, but they would still be able to grasp the concept.

Even though this had occurred, I still felt that the piece, and the curation of the room, as well as the exhibition as a whole, went very well. I was able to stand in the room for quite a while to listen to the piece. There was some unintended overlap of speech, however instead of sounding weird, it just sounded like an echo. This echo gave the perception that the space was louder than it was. The use of smaller speakers in the corners of the room gave the effect that no one was there, even though there was always a sound.