Materialising Time: Developing new methods of visually representing time as embedded in The Seascape
Lead Research Organisation:
University College London
Department Name: Slade School of Fine Art
Abstract
In Materialising Time I will be exploring new and innovative methods of visually representing time through a series of Seascapes I am developing in partnership with Film and Video Umbrella, London and the De La Warr Pavilion, Bexhill.
Five webcameras will be placed at key vantage points from Margate to Gosport, including the De La Warr Pavilion in Bexhill. Each camera will look out over the English Channel, framing the horizon and forming part of a panoramic series.
The locations include Folkestone where France is visible on the horizon, and Stokes Bay, Gosport where the control centre for the D-Day landings was located.
This project builds upon my previous works Fenlandia (2004-5) and Glenlandia (2005-7) which addressed the relationship between landscape and technological innovation in the areas known as Silicon Fen and Silicon Glen respectively. In Materialising Time I will be extending this investigation to a visual exploration of the relationship between seascape, time and tide on the South East coast of England.
For six months each of the cameras will be transmitting and archiving live seascape images. The images will be constructed a pixel at a time, from top to bottom and left to right of the image, in horizontal bands continuously, so that a whole image will be made from individual pixels collected over varying periods of time, and record fluctuations in light and movement, time and tide throughout day and night.
I will explore the potential for representing time within these digitally transmitted seascape images through examining the potential for linking the time it takes to build an image in the work to tidal, environmental and astronomical data. I will also investigate the potential for these live transmitting images to be made material, applying both innovations in digital print technologies (including 3d printing) and dynamic, navigable web architectures to a continually accumulating image archive.
Poised between the still and the moving image, the lens and the pixel, the works will reveal how images can be coded and decoded using light and time. I will reflect on critical issues raised by the project concerning seascape, technology and time, remote transmission, and the relationship of abstraction to representation, in the context of both historical and contemporary representations of the seascape within visual art with a view to providing fresh insights to this established genre.
The resulting works will be included in a major solo exhibition at the De La Warr Pavilion, Bexhill in 2009 accompanied by a publication produced by Film and Video Umbrella on my pixel landscape works.
Five webcameras will be placed at key vantage points from Margate to Gosport, including the De La Warr Pavilion in Bexhill. Each camera will look out over the English Channel, framing the horizon and forming part of a panoramic series.
The locations include Folkestone where France is visible on the horizon, and Stokes Bay, Gosport where the control centre for the D-Day landings was located.
This project builds upon my previous works Fenlandia (2004-5) and Glenlandia (2005-7) which addressed the relationship between landscape and technological innovation in the areas known as Silicon Fen and Silicon Glen respectively. In Materialising Time I will be extending this investigation to a visual exploration of the relationship between seascape, time and tide on the South East coast of England.
For six months each of the cameras will be transmitting and archiving live seascape images. The images will be constructed a pixel at a time, from top to bottom and left to right of the image, in horizontal bands continuously, so that a whole image will be made from individual pixels collected over varying periods of time, and record fluctuations in light and movement, time and tide throughout day and night.
I will explore the potential for representing time within these digitally transmitted seascape images through examining the potential for linking the time it takes to build an image in the work to tidal, environmental and astronomical data. I will also investigate the potential for these live transmitting images to be made material, applying both innovations in digital print technologies (including 3d printing) and dynamic, navigable web architectures to a continually accumulating image archive.
Poised between the still and the moving image, the lens and the pixel, the works will reveal how images can be coded and decoded using light and time. I will reflect on critical issues raised by the project concerning seascape, technology and time, remote transmission, and the relationship of abstraction to representation, in the context of both historical and contemporary representations of the seascape within visual art with a view to providing fresh insights to this established genre.
The resulting works will be included in a major solo exhibition at the De La Warr Pavilion, Bexhill in 2009 accompanied by a publication produced by Film and Video Umbrella on my pixel landscape works.
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| Susan Collins (Principal Investigator) |