Dublin Portrait: Personal reflection.

Camera with poster.

For 50 years Arthur Fields or the “man on bridge” as he was known photographed the people of Dublin on the city’s main thoroughfare O’Connell street bridge. The photographs offered each individual a unique portrait but collectively they form a substantial survey of Dublin’s inhabitants. Inspired by the “man on bridge” we began the process by thinking about how we could compile a human survey of Dublin in 2015. Last semester a number of students had designed and built a custom camera using a WW1 lens from a surveillance aircraft. They used this camera to take portraits of students and exhibited them within the school. Due to the nature of the lens the portraits have a unique and compelling quality. It also provides incredible macro details to large format photographs. We began with the aim of using this camera within the city.

Tests

After experimentation we arrived at what we felt was an optimum exposure time in external conditions. A 40 second exposure without using artificial light achieved what we felt was a good quality image. It became clear at the end of the project, however, that far more rigorous testing was required. The extremely sensitive nature of both the lens and the photographic paper as well as the forever changing quality of external light make it a very challenging proposal. In order to achieve more developed images artificial light may be necessary. We altered the camera so that it would be easier to load and transport into the city. The loading process, while quite cumbersome and time consuming, did add something to the project and made it feel more like an event. It also allowed people time to carefully consider the response to the question. The location we chose to take the photographs was the GPO on O’Connell street. 

Participant having his portrait taken.

This location was chosen as a reference to man on bridge but more importantly for its historical significance to the city and country. This turned out to be a very beneficial place for us to set up as it offered an incredible number of interested passers by. The location seemed to also influence peoples response to the question which was “ what is your earliest memory of this place”. While this question could have been interpreted as asking about Dublin, the country etc, many of the Irish participants, and even tourists and other nationalities, answered the question with regards to the GPO and delved into memories and stories about the Easter rising. The location is, therefore, of the upmost importance in a project such as this one and it shows the subconscious influence of the built environment around us. We placed the camera so that the background of each portrait would be the column of the GPO’s portico. We hoped the camera would pick up the grain of the large columns adding significance and interest to the photographs.

From the moment we set up the camera people eagerly approached us wanting to have their photograph taken and to enquire about the project. It had initially been a concern that it would be difficult to get people to stop and agree to have their image taken but what we found was quite the opposite. It became clear that by providing an inviting service which was both unusual and interesting people approached us rather than the other way around. Having previously interviewed people on the street I found this method was far more beneficial in terms of gaining peoples attention and participation. It seemed more of an event than I had anticipated. Families wanted their children photographed, several people asked for their photograph to be taken while they sat for the portrait so as to record the event. I believe it was this eagerness to participate that led to the open and lengthy dialogues that followed the portraits. A broad range of answers were given to the question. Some people had only arrived in Dublin that day while others had been there their whole lives. 



The images that were produced on the day were not of the quality we had hoped for. They did, however, contain other more conceptual qualities. We chose to display the portraits of four people in black frames at eye level. Each persons had their portrait and digital photograph framed with their quote underneath. We chose to include the digital image to give a face to the quote which we felt was important. We also believed it added depth and interest to the images as it captured the moment these people had taken to have their portrait taken. These digital images, taken originally as a record, were in themselves quite strong portraits. They captured the people as they concentrated in order to remain still. In these images the grain of the column of the GPO is visible as was originally intended.

I have gained a lot of knowledge in relation to both the technicalities of taking and producing photographs and also different methods and ways of working. All three projects this year look at space and try to understand it in another way. All of these projects were compiled within the same small space but produce wholly different results. Our project is more emotive and subjective per- haps than the others. However, they too are subjective in terms of what the photographer chose to photograph, where when and how as well as how many times he photographs a certain theme or scene and how it is organised in the book in what order etc. All of these things create, however unintentional, a bias view towards the subject. Therefore it is important to use not only photography but all methods of research as a tool and not the totality of understanding towards a theme or subject.

The course and semester in general have also forced me to focus on how I display and exhibit my work. The details of the exhibition are vital to conveying the purpose of a project to a visitor. For us we wanted to convey the idea of a survey of Dublin inhabitants and therefore we chose to combine the three aspects of portrait, digital photograph and quote. Had the exhibition contained 8 portraits from the custom camera as was originally intended it would have had a completely different feel and understanding. It reinforces the importance of stepping back and looking at what you want to convey and how you can enhance that message through exhibition. In conclusion the course has been of huge benefit in learning the technicalities of photography, understanding how to use photography as a tool and in stepping away from your work and trying to examine it with a more pragmatic and critical eye. 

Booklet examples

I found this process of work very interesting and the idea of interacting with people in this way is very appealing. There is a risk, however, to rely on peoples answers or opinions that they may give in relation to any questions. There is a richness in this method but it should be used in combination with various other methods of research such as historical documents, census information, silent observation etc. A site, building or space can never be completely understood but in order to coherently re organise and alter something a sufficient investigation is needed in many areas. 

At its conclusion the project feels as if it is the first draft of a series of experimental shoots. The faint images have a ghostly character which seems to strongly reflect the nature of peoples memories as they reach back into their minds. From this point the project could develop more as fine art than the original purpose of an urban survey. It could also be refined and developed to produce more detailed portraits serving the original intention.

Bibliography

Fields, Arthur, Ciarán Deeney, David (Documentary producer) Clarke, and Man on Bridge Project. Man on the bridge: The photos of Arthur Fields. Cork: The Collins Press, 2014.
Evans, Walker. Many Are Called: Subway Portraits. Yale : Yale University, 2004. 

Exhibition

flâneur: rediscover the city?

’Then, quite apart from all those literary preoccupations, and without definite attachment to anything, suddenly a roof, a gleam of sunlight reflected from a stone, the smell of a road would make me stop still, to enjoy the special pleasure that each of them gave me, and also because they appeared to be concealing, beneath what my eyes could see, something which they invited me to approach and take from them, but which, despite all my efforts, I never managed to discover.’ Marcel Proust-Du Côté de chez Swann

In Walter Benjamin words Proust expresses his fascination and defends the ’new Romantic conception of cityscapes’.[1]

Cities replaces the embraced beauty of natural landscapes in the perception of many novelists and writers, like Charles Baudelaire, Marcel Proust or Amédée Kermel. The flâneur becomes a leading figure in the 19th-20th century narratives of, mostly french, authors. He is defined as wanderer or idler, who is observer, but at the same time is a part of the events occurring in city life. Baudelaire compares the need of the flâneur to belong to the crowd to birds who need air. The flâneur experiences and dreams in the city by moving through the built environment.[2]  Furthermore Baudelaire’s understanding of the flâneur was a city man ’driven out of the private and into the public by his own search of meaning’.[3]  This suggests that the flâneur wanders around in order to search for his own identity and that the city acts as a catalyst in this process.

Lee Friedlander

It is interesting to mention that the theme of the flâneur was not only related to urbanism, literature or sociology, but can be found in fine arts. Lee Friedlander, an American photographer, is fascinated by cityscape and in which environment we live in as individuals. Moreover ’he is a part of the flow that he records’.[4]

Friedlander captures the things, which attracts him as a viewer the most and exposes it in his photographs.Through his work he tries to see the city in a new perspective by showing the beauty and sharpness of our immediate surrounding.

Many of his works focuses on aspects like reflections of glass and objects or the superpositions of people, who are unaware of each other, but are connected to each other through photography. So how significant is it to discuss the importance of the flâneur in our contemporary society?

Townspeople tend to use the same paths and roads in order to arrive at school or at work or to the grocery shop. The city life is featured as restless, multicultural inhabitants offer diverse life styles and the composition of old and new urban structures foster the discussion about the historical and modern identity of a city. But how intense do the inhabitants and the observers look at the cityscape’s in its entity?

Our group, Lucy, Arwin, Christina and I, therefore thought about combining this thought with the desire to define the modern flâneur of the 21st century. The theme of this semester 'Photography and the City' offers to argue the role of the photographer in the city and how to understand it through a two-dimensional effigy.

Hence we want to investigate our idea by elaborating a specific aim: to rediscover the city through photography. We want to create a new platform for the local people, who know already their city, by showing them new sides of their city. Photography acts as a medium in order to capture ’everything’; pictures in different scales present the unseen and unnoticed details or movements, which happen all at the same time. Every picture is unique and its composition reveals the hidden synchronistically movements and facts of the location. A new connection is made with people, who perhaps don’t know each other in real life, but at the photograph they are united and seem to express a story related at a specific time. Another aspect of the photographic language is also, how the photographer interacts in the scene.The dialectic relationship of the photographer, who is himself a flâneur and simultaneously captures other flâneurs and the direct surrounding.

Kohei Yoshiyuki-The Park

A good example is Kohei Yoshiyuki’s project ’The Park’ (1979). The photographer breaks limits by ’creeping up on people’ in various parks in Tokyo. Yoshiyuki observes couples during sexual intercourse and reveals at the same time other voyeurs of the scene. It shows the reality of city life in its darkest hours and shows how the spectators of the scene want to become a part of the scenery. The photographer becomes one of them by capturing as an outsider this elusive moment. 

With our project, we want to arise at the same time the question of how involved the photographer is himself as a flâneur and how captures other flâneurs’ perspectives.

Map of study area Findlater Place-Cathal Brugha Street (highlighted buildings shown in the photographs)

Which location would be the most suitable for the project? Which kind of camera is suitable for the pictures? All these questions have been important in order to define the focus and the way we want to interact as a flâneur-photographer.

Therefore we decided to choose Findlater Place-Cathal Brugha Street as our focus.

The site is featured by different functions like Bord Pleannala, St. Thomas Church, DIT College and Catering and the Living Room, a well visited pub. It is one of many side streets of O’Connell Street, which divulges unexpected moments of the city. Mostly users of the different buildings or people using the bus station are traveling along this place. The place is being used differently throughout the day: different users come at different times.

Our goal is to compress through photography the different moments and people using the space. The captured moment should be a tool in order to feel the different perspectives of every flâneur. We decided to use digital cameras like Nikon D200 with a Nikkor 80-200 mm F2.8 lens and a Canon Powershot A3300 IS. They enable different ways of focus and capture with high quality small details.

William Eggleston-Los Alamos Revisited

After exploring what we want to create, we thought about how to exhibit our work. During the second half of the semester, we thought about variations of framing individual pictures and to arrange them on the wall. Another idea was to create through many individual images a collage like panorama picture leaned on David Hockney’s work. 

We opt for coloured photographs inspired by William Eggleston’s work.The American photographer is well known for his colour film images and documents artifacts from the American everyday life and creates storyboards rich in contrast like it is kept in record in ’Los Alamos revisited’. In this book, his images have been rearranged and stories have been set up through the page composition. Therefore we chose the book format in order to create and compose unique photographic compositions. This option enables the viewer to to filter and to take time for creating his own stories through the photographs. The book allows the viewer of the photographs to travel in time with the people in the images.

From our project

This project has been challenging in a way how to learn to perceive the familiar urban districts in a new way. As architects it is essential to understand space as a multilayered platform and we need to see how people interact in this space. The architect, the photographer, the sociologist etc. have to become themselves flâneur and need to capture several perspectives in one image. The connection of architecture and photography is extremely precious as both can act as a supplemental resource to each other. Photography enables to retain specific moments, events and persons in time, to even freeze them in time. Hannah Arendt claims that public realm can ’survive the coming and going of the 

generations only to the extent that it appears in public’.[5] These photographs make the motives in public realm eternal. Architecture in turn offers the space which captures photography and is a part of the external perception of space.

My own investigation Marlborough Street-Parnell Street (near study area)

It would be interesting to explore more possibilities of photographic tools in order to bring the project a step further. How would it be if the images were more saturated? Or everything would be rather black and white. There are many ways and possibilities to push the project.

Additionally we could try like Yoshiyuki to be more an active photographer in the flânerie scene, to be more active in the events of the city life. We have been silent spectators in order to highlight the events on the site. But how about bringing the photographer as a flâneur more consciously into the scene?

Nevertheless I think it is important to point out the learning process of this project. I have to say that by comparing my primary knowledge in photography with my present acquired knowledge, I learned to see photography even more as a way to examine the surrounding of a specific site. The longer you stay at a place the more you become yourself as flâneur and a participant of the space. 

-Asal Mohtashami

___________________________________________________________________________

[1] Benjamin, Walter. The Arcade Project. New York: Belknap Press, 2002.

[2] Baudelaire, Charles. The Painter of Modern Life. New York: Da Capo Press, 1964.

[3]  Tester, Keith. The Flâneuse. London: Routledge, 1994.

[4] “Lee Friedlander Captures the City’s Hustle and Flow.“ Last modified April 23, 2015.http://www.nytimes.com/2015/04/26/magazine/lee-friedlander-captures-the-citys-hustle-and-flow.html?_r=0.

[5] Arendt, Hannah. The Human Condition. London & Chicago: The University of Chicago Press, 1958.

Individual Reflection about Dublin Portrait

The ‘Dublin Portrait’ installation was set up in the Board Room in Richview. There were three main elements: eight black frames on the wall with four quotes underneath, the large format custom-built camera with a big sign stating “Get a unique portrait for free”, and a booklet. 

Installation in the Board Room, Richview 

Four people’s portraits are hung on the wall: Nicholas, Margot, Kathleen and Katie. For each of them, there is a frame containing the developed and edited picture from the ‘old camera’, this picture is quite blurred and a bit ghostly which lets the visitor come to their own interpretation. The second frame contains a digital picture and the quote underneath is the answer the question “What is your earliest memory of this place?”. With these elements, the visitor can have an idea, or make his own idea, of these Dublin portraits. 

Portrait of Margot 

The booklet is showing the entire collection of photographs and quotes as well as a documentation of the process. After this description of the installation, I will try to explain why and how we developed the project, as well as giving a critical reflection on it. 

In order to explore the concept of photography as means to survey the city, we proposed to draw a portraiture of Dublin by photographing its occupants today. After studying urban sociology at the Architecture school of Nantes (France), I have been convinced that the people make and transform a space instead of a space makes and educates the people living in it. Thus, I believe there are two main ways of studying people in space: one is observing the people from a distance and the other is engaging and interacting with people in the space. We chose to pursue the second option. We proposed to act after Arthur Fields, the man on the bridge who catalogued with his photographs the people of Dublin from the 1930s to the 1980s. The pictures we wanted to take are individual portraits but collectively there are an interesting record of the actual people of Dublin. A critic could be that these portraits are random and obviously not exhaustive so they could show a wrong conceptionof the city today. We decided to emphasize this idea of subjectivity by recording a quote from each person in order to try to share a part of the thoughts of the volunteers. To that idea, I can refer to Gerry Andrews I met in October, this photographer surveyed the Limerick Milk Market in the 1970s showing portraits of people and their bad life conditions at that time. He associated his pictures with what he calls a ‘back story’, because he always got to know the people before photographing them.

Our photographs were taken using a homebuilt camera with a WWI reconnaissance aircraft lens which can provide interesting details to the large format photos. Returning to an old process to photograph was really new for me, I learned a lot about how a lens works, what is an exposure time, how to develop the negatives... All what we forget using digital cameras nowadays.

Custom-built camera

We set up at the South Pillar of the General Post Office portico, due to its historical significance and central location. We were surprised by the positive response of the public, people were intrigued by what we were doing and we had a diverse range of volunteers. The fact that these people were approaching us, instead of us approaching them, made them share easily their memories. I think that was really an interesting point : if you survey a site for a design project by stopping people and asking them questions about the place, they are suspicious and less open to answer. With our camera, they approached us wanting a photograph and by us giving them something, they were happy to give us their time and talk about the place. That constitutes a process I would like to reiterate later on to survey a site, with an intervention on site that offers the people something in return to their cooperation.

Photographic process in front of the GPO

Then, the photographic process itself took roughly 3-4 minutes: once the subject was in focus, he had to remain completely still while the paper loaded and the following exposure time was 45 seconds. That permited as well to really interact with the volunteer, and the expressions on the pictures taken also show that people were concentrate and conscious of staying still facing the lens. In retrospect, that point makes the pictures quite formal, comparing to other portrait series, like the work of WalkerEvans in the metro. That was not really expected but was actually interesting to have what we can refer to an ID photograph.

Katie's digital and developed picture

Walker Evans’s picture in the metro

 While developing the pictures then, we were really disappointed with their quality. Indeed, the day light was not enough strong so the negatives were really ghostly. Due to a large budget already spent and technical considerations, we were not able to reiterate the process so we decided to accommodate with the pictures. As an afterthought, that aspect was really interesting because it made the project evolve. We decided to associate a digital picture, initially taken only as a simple record of the moment, to a developed picture in order the different elements to be stronger as a combination. That is how we came to the final installation. Thus, I have become aware that the different steps of the learning process were really rich in that project rather than trying to have a perfect result.

How did that project influence my practice of surveying a place in order to design ? As a foreigner, the GPO and O’Connell street were places I have only experienced for the last few months so they still seem new and unknown for me. That type of survey is far from trying to portrait the city by its building and different typologies, as Bernd and Hilla Becher did with their objective series of typology, even if that is another type of portraiture. The project opened my mind to another type of survey, which also tells you about the people of a place and the place itself. However, by interacting with people, I felt to be easily influenced by their talks because I was a newcomer. As a conclusion, to survey a city by using photography, it seems really important to combine more ‘objective’ and ‘subjective’ means. To that end, the work of the three disseminating architecture groups seems to complement each other. 

Hélène Guillemot

Bibliography :

Fields, Arthur, Ciarán Deeney, David (Documentary producer) Clarke, and Man on Bridge Project. Man on the bridge: The photos of Arthur Fields. Cork: The Collins Press, 2014.
Andrews, Gerry. Shaped by History. Dublin : Juniper, 2012.
Exhibition in the National Photographic Archive, (Meeting House Square, Temple Bar) from August 1, 2014 to the January 5, 2015 

Evans, Walker. Many Are Called. Yale : Yale University, 2004. 

Becher, Bernd, and Klaus Bussmann. Bernd & Hilla Becher: Tipologie = typologien = typologies. Bonn: Auftrag des Auswärti- gen Amtes, 1990. 

Rediscover the city

’Flâneurs don’t have any practical goals in mind, aren’t walking to get something, or to go somewhere. What flâneurs are doing is looking. Opening their eyes and ears to the scene around them, wondering about the lives of those they pass, constructing narratives about the houses, eavesdropping on conversations, studying how people dress and street life in general. Flâneurs relish what they discern and discover.’ - Alan Fletcher 

Fletcher describes the phenomenon of the flâneur and Charles Baudelaire also wrote about the city wanderer. Many writers and artists where fascinated by the effects of the city on its inhabitants and how the people use the spaces. But what about us as the viewers of the twenty-first century? Are we still into the city?

Mostly the people move through the city from A to B in order to achieve a specific goal. The way they move through the city becomes a routine. They have become familiar with the space, they don't notice anything new. 

There are different functions on the site and the different functions are used by different people:

The people they don’t see, the people that use the other functions, because of the time difference.

People of the modern society don’t pay attention to their surrounding and therefore it would be interesting to investigate the definition of the modern flâneur.

The aim of the research is to rediscover the city through photography. The local people that are familiar with the space, should perceive the city in a new way.

The images should show unseen or unnoticed physical features of the specific space.

It should also show how the spaces are used by different people over time, it will unite people that usually wouldn't meet due to the difference in time. In this way the viewer of these images will travel in time with the people in the images. 

The J. Paul Getty Museum explains that William Eggleston’s work ’monumentalize everyday subjects, everything is equally important; every detail deserves attention.’ His colour film photographs capture ’democratically’ unspectacular events of our everyday life. In his book ’Los Alamos’ Eggleston suggests through the arrangement of different images stories behind the images.

The project focuses on Findlater Place, a cleft place in Dublin 1, dividing different functions from each other. It can be seen as a transition space to other places.

The space is used in different ways because of different functions: Bord Pleannala is next to the Best Western Academy Plaza Hotel and DIT, College of Catering faces the St. Thomas Church.

All these diverse functions attract different people and draw them in.

The first idea was to stitch different focused images together as a collage to suggest a story. David Hockney, a well-known photographer, plays with perspective and details through overlaying images together. Nevertheless the assembled image appears too flat and looses its initial focus. Every image tells its own story and should take its own position.

Hence the new and final idea is to link images together and would be gathered in a book.

By combining one image on either side; a story is suggested. New ways of perceiving the space and events within a space should encourage the viewer to rediscover the familiar surrounding. Constructing narratives and lives beyond images are the main interests for our investigation. The city is more than a transition space.

Lucy Buratto, Arwin Hidding, Christina Kerr, Asal Mohtashami

A View of the City

 “When I lived in the suburbs of the city, I used to walk a lot, I found it cathartic, walking through streets upon streets of rowed houses allows you to understand the area in which you live” [1]

Nick Papadimitriou

Memorial Inscription to underside of Fusilier's Arch, St. Stephens green

Grafton street is a primary thoroughfare through the city, it is a street which the visual urbanist would call an embodied local route, by which I mean, the people who use this route have a cognizant sense of place and embeddedness of identity through the transition from Trinity College to St. Stephens green. As noted by John Berger in his 1972 BBC series, ' Ways of Seeing' a large part of seeing depends on habit and convention [2]. The route becomes a remembered ‘street’ whereby the user has an ‘a priori’ visual image of the street in their mind. This visual image may have been subconsciously developed and over time allows itself to become numb to its surroundings. Guy Debord and the Situationalist international influenced by post modernism theorised that modem cities are constructed around commercial imperatives, suitably described by Belgian philosopher Raoul Vaneigem, another principal theoretician of the Situationist movement [3];

 “Work to survive, survive by consuming, survive to consume; the hellish cycle is complete.”

... a sentiment which has become diluted to – Work , Consume, die. In many respects it has a lot of truth for Dublin city centre, we have areas which focus short linear narratives of; work, shop, entertain, home. Therefore we never really see the city as a whole anymore, we don’t exist in the city as it was truly planned out to be. To counter this theory, Debord and his group of friends would drink wine and then acting as flâneurs, create a dérive through the city, from north to south with no real objective, thereby disassembling the edifice of the capitalist society. Walking is unique in the modern fast paced world, it is one of the few times where you have the possibility to have a continuous narrated linear journey in real time, allowing oneself to gain hidden knowledge of the city thus giving it a sense of depth and dimension [4]. In many ways it is the antithesis to other visual mediums, modern motion pictures with regard to representation of an urban setting for instance, are jump cut, with a non-linear narrative. The space and time are meaningless, with little to no regard for true narrative lineage. The act of planning a perfect real time filmed archive of the city street is almost impossible, as the city will always contain its own unplanned intervention [5]. Whether it be someone walking into shot, a car moving across the frame or construction works screening of a usually interesting route.

The visual archive of the city is important as it captures moments of urban and social encounters. This exposure to city life is essential to the understanding of visual urbanism. To revisit places and spaces, to instigate the activation of memories after long periods of absence is vitally important to the nature of the derive. In describing a place, transition or ritual it allows one to retrieve memories which have been physically left there, as if it were a tangible object as opposed to its true nature, which is a chemically encoded process [6]. Carl Jung theorised that we may have access to a universal consciousness, that relates to time and space [7]. The scrapes on the granite slabs which pave the street, the heavy weathering of the stone walls and bricks above the shop-fronts, these are aesthetic nostalgia, all of which are spaces, places and moments left behind by the passage of history. They allow us to access memories of a place in time, even if we are fully disconnected from them. By removing the modern shop-fronts of Grafton street from the field of view, and looking up at the mostly historic fabric of the street, can we then reinterpret the act of the visual archive. As this can no longer be placed to a time scale if the buildings have remained unchanged. Time and space in this sense are extremely complex fixed mathematically sciences set firmly within the ‘real’ world. T.S Elliot describes his understanding of ‘real’ time in his work 'Four Quarters - Burnt Norton (1935)' as “...time present and time past are both perhaps present in time future and time future contained in time past.” [8]. Which can be understood as the past no longer exists in any physical sense, but is manifested through the metaphysical. We require the works of writers, painters , poets and visual artists to interpret and represent the city ‘of the time’. The concept of our project is the viewing of the quotidian using an uncommon view. To make a visual experience which will allow one to understand the space through an embodied experience which engages with routes and transitions to allow us to represent the primary location for urban encounters, the street. In Kevin Lynch’s ‘The Image of the City’ he says that visual representation should act as a form of engagement with the urban setting, by using the mental image of the walk as an event. In doing this we can engage with the urban sensorium, a multi layered, multi sensory experience which weaves geography, psychology and autobiography together to produce a phenomenological fabric of the city [9]. The rational and outcome of this visual representation of Grafton street should be to encourage a dialogue on the topic of visual urbanism, of the image as evidence and the image as archive. It should question the role of location, politics and ethics along these routes of urban encounters.

Transforming the View of Grafton Street

Using a bike as a filming device for smooth video, a goPro camera will be mounted looking in two different directions. The first view will be mounted to the back of the bicycle at saddle height and looking up. The second view will look to the ground from a height. The go pro will be mounted to a telescopic pole at a height decided on site. The route for filming will begin at St. Stephens Green, attempting to film centrally through Grafton Street and ending just after crossing Suffolk Street.

To exhibit our work we will use two projectors mounted on the bicycle/ bicycles used for filming.  A white screen may be mounted to project on to, or the white walls of our exhibition site used. The projectors will show the video in an unfamiliar way, projecting the videos on the vertical plane as opposed to the horizontal plane they were filmed on. 

Work method

Aitana Perez, Kevin O'Brien, Cormac Friel

 References

[1] - Papadimitriou, Nick - excerpt on walking from “The London Perambulator” - 2009 - Film

[2] - Berger, John - excerpt from BBC series ‘Ways of Seeing’ - 1972 - Television series

[3] - Debord , Guy - Internationale Situationniste #2 (December 1958)

[4] - Papadimitriou, Nick - excerpt on walking from “The London Perambulator” - 2009 - Film

[5] - Halliday, Paul - excerpt from TATE modern ‘Urban Encounters - Routes and transitions - 2013 - Annual Conference

[6] - Till,Jeremy - Thick time , Collected Writings , 1999

[7] - Jung, Carl - “La Structure de l’inconscient” in Archives de Psychologie XVI - 1916

[8] - Elliot, T.S - Four Quartets, Burnt Norton - 1935

[9] - Lynch, Kevin - The Image of the City – 1960