Once Brian and I decided we were working together and initiated conversations about both my area of interest, landscape as matter, energy, and information or void, and Brian's interest in film's "long take" and montage, the conversations became incrementally more interested in our built environments spaces. We generalized and at times categorized space into categories not unlike Kevin Lynch's tactics in Image of the City. Consistently we turned back to the more important focus on the long take as a mapping technique and landscape as an atomic carpet riddled with thresholds or connections and simply differentiated through urbanization and patterns of living development.
Ultimately, our more relevant analysis was "post filming" or "post real time mapping". It was not until after we planned the film, walked what would be the film, walked what would be the film again, and then shot the film, watched the film, and watched the film, that we noticed a clear pattern embedded within the area of the city we were filming.
Similar to physics the space under anaylsis has properties or elements that can be easily understood as matter, energy, and information or spaces of utility, activity, and constraint pared with temporality.
In the presented work the rigour is embedded within the production and placement of audio. The audio is contrived not unlike the facades that bifurcate urbanity. Essentially, the audio narrates the landscape slowly revealing, impregnating, and networking the events, energies, and atoms that are composed 3 dimensional, but as shown here 2 dimensionally.
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