In Process

A series of online deposits (thoughts, findings, process images, sounds) have been posted here over the duration of the project’s development.

Posted 23 Aug 2005

Historical reference maps of the city of Bristol (source - Bristol's City Record Office):

View Map 1 PDF - large (384KB) OR small (108KB)

View Map 2 PDF - large (576KB) OR small (116KB)

The deviation of the River Avon and the gradual populating of the city and its surrounding areas are of particular interest to 'Residual' research.

 

RESIDUAL LOCATIONS

View Location Map PDF (source - Bristol's City Record Office) large (388KB) OR small (124KB)

Listed below and marked on the location map above are the sites we have chosen and filmed for ‘Residual’.

1. Ravens Well

2. Clifton Rocks Railway (interior)

3. River Avon (Hotwells Road)

4. River Avon (The Portway)

5. Hot Spring

6. Hotwells Jetty

7. The Colonnade

8. Clifton Rocks Railway (exterior)

9. Brunel Lock

10. Netham Lock

11. Disused Rails, Temple Meads

12. Redcliffe Bascule Bridge

13. Redcliffe River Bank

14. St. Mark’s Church

15. Bristol Cathedral (Elder Lady Chapel, Night Steps, Chapter House)

16. St. John’s Crypt

17. St. John’s Conduit

18. All Saint’s Street

19. Eastville flyover

20. Billboards at Warwick Avenue (Not included in final shoot)

21. Victoria Rooms

22. Avon Gorge Hotel Ballroom

23. St. Thomas Church, Burnt Loft

24. Customs House

Posted June 2005

Here is a stream of conciousness which Isabel sent to Thomas and Helena early on in the process.

Immediate Thoughts:

• Like a forgotten/ remembered moment

• A feeling of the deepest silence, the pre-linguistic, that which causes the viewer/ auditor to let go of social boundary

• Establishing shots tend to go towards the rational, therefore I’m interested in keepin shots tight - from mid to close up

• Keep it to minimal, meditative

• Feeling when you see part of an object, rather than the whole

Key elements:

• Feeling of residue, erosion, visiblity

• Feeling of place, time

• Subjacent feeling of history (what’s underneath), through sound/ visual connections

- resonance which may linger well after a shot of a given place/ history has evanesced (disappeared without trace)

• Slight abstraction of image within collectors documentary, yet enough of its context for us to feel the journey sub-narratively

• Pre-linguistic, post-linguistic, varying states of consciousness

from the sub conscious through to the conscious, moments of unconscious and back to a break of the rational at the end

Structure to be finalised, but journey will no doubt be one of in and out of ‘language’ (things we can identify and place), see structure as a heave, in and out of consciousness, once the mind climaxes in the conscious it is then dismantled

• Archaeology metaphor: ‘Residual’ unearthes, leaving open unresolved trauma, yet it does so in a meditative, reflective manner

Silting metaphor - the way the river builds up mud, residue, drying up the places of ‘passage’ of journey, stopping time

• Suppression and containment of river/ of water - in both the way it has been deviated, locked and buried under concrete

• The underground vs the  norman arch, the early gothic and the corinthian Georgian columns

• Trace: erosion, visibility, lingering

• Repository: the sarcophagus, the crypt, the remains, building a container for the remains

• That which is alive (spring, river) and that which appears dry/ dead (mud accummulation/ rock railway remains)

• Samples, relationships

• Colour: allow it to go through subsections of a particular range, seminal moments, passing moments, moments developed through interconnections

Chat with Dr. Dan Hicks, Lecturer in Archaeology at University of Bristol:

Fragments, words and other:

Inevitably - multitemporal

Accidentally left over

Materiality of residues is part of the archaeological perspective

Archaeology is interested in what binds the human with the object

The boundaries between non-humans and humans are messy

Sub-soil and natural bedrock (never been changed, no alteration)

Most rubbish is actually rubble from building materials

Archaeological practice is intrinsically about trauma

Alchemy of ‘this happened here’

Coherence and non-coherence (the evocative)

Truth and falsehood

Most excavation is about re-digging a site which someone else has already dug

 

Posted 25 August 2005

Preface notes to rough cut as sent to sound collaborators:

To explore the theme of residuality I have taken Bristol as key subject. Looking at a building’s erosion, at architecture through the eras, at urban planning and the distribution of the population over the centuries has inevitably lead to an engagement with Bristol’s history. History, land and architecture are therefore a starting point and a structural drive for the research, and not an end in their own right. So ‘Residual’ is not about architecture, historical events, a particular city or era. It is a piece which wishes to reference these aspects in order to build an experience of residue (what’s left over), an experience which is in some way both coherent since it is made out of elements which cross reference and are deeply interconnected, and at the same time far from being immediately legible by our rational minds.

So what I have tried to create is a representation of a collection of places to bring to the surface buried relationships, forgotten presences, juxtapositions, parallels of the emotive-historical states of chosen sites across time.

It has become clear that ‘Residual’ is a piece about relationships: perceiving a given place through its juxtaposition with another, either informing, complementing, or contrasting the first. The links made between/ within sites (in the edit) are therefore either historical (event based: this happened here because of this other factor represented by this other place),  emphatic (using one location or detail to bring out a certain aspect/ feeling inherent in another), or instinctive (where there seems to be some unspoken relationship between this place and that one).

The format of presentation for the piece is split screen: 2 x 4:3 images within a 16:9 projection. This allows us to build a dialectic syntax of relationships and juxtapositions. Yet it is vital for the piece to remain experiential and immersive. So the ultimate goal is to create a feeling of something which is constantly unfolding, building, disintegrating, offering variation and sameness all at once.

Both an unearthing and a burial of meaning, the edit wishes to achieve that through a language based on cross dissolves and overlays, where the movement mainly arises through the relationships and ‘progression’ of the piece rather than an active subject or visible event within the frame. I would like to retain the feeling of ‘being’ of a place. Hewlett-Packard

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