In unpacking this week’s key rhythm; dynamic, I came to understand that something that is dynamic is ever-evolving, changing and growing. It can involve a give and take, an exchange or an interaction between varying entities. Following class-discussions surrounding changescapes, I took away the key idea that dynamic environments, particularly within nature are ‘more concerned with systems than structures’ (Gibson, 2015, pg. 10) as nothing is ever truly definite.

With my own media artefact this week, I explored the systems and imageries that could be associated to words inclusive of being dynamic; growing, shifting, moving, merging and being. I chose to categorise the shots as such (e.g. moving – insects moving, footprints) to provide some structure throughout my artefact. Further,I chose to include a voice over running simultaneously with these visuals to highlight the connections and enhance the commentary I was making on the intricate dynamic systems we don’t always notice.

Upon reflection, to improve my artefact – and approach future work more generally, I still need to refine my timing/ rhythm. This could include neatening the black screen shots between my footage so they feel less rushed and create better emphasise on the relationship between stillness and movement that I intended.

References: Gibson, R. (2015) ‘Changescapes – An Introduction’, in Changescapes: Complexity, Mutability, Aesthetics. Crawley, WA: UWA Publishing, pp. 1–20. 

This week’s key rhythm was ‘messy’. After extending my familiarity with mess as it’s literal form; in an overflowing email inbox or a chaotic bedroom floor, I came to understand mess as an underlying complexity in everything that exists. Looking around, the world itself is ‘messy, unknowable in a regular and routinized way’ (Law, 2007, pg. 597) and we too often try to reduce this mess. Reflecting on in-class discussions and the exploration of ‘data as mess’, I realised the importance of preserving mess when capturing it through media and avoiding trying to neaten it.

In creating my own artefact, I explored mess through the idea of cataloguing; presenting various ‘messes’ in my environment alongside one another. I looked at natural mess such as cobwebs, ants, fallen leaves in comparison with man-made mess such as water bottles, footsteps and litter. By showing each shot for a short amount of time, I attempted to present them as small dense fragments of a larger entity (my environment) that is complex and messy.

Reflecting on in-class feedback, another way to enhance the effectiveness of cataloguing shots is to ensure they are all the same length – creating a metric montage, this is something I intend to explore in future.

References: Law, J. (2007) ‘Making a Mess with Method’, in The SAGE Handbook of Social Science Methodology. SAGE Publications Ltd, pp. 596–606. 

This weeks key rhythm was entanglement. My understanding of entanglement is that the concept encapsulates and explores the ever-evolving connections within a complex world that is “always in flux” (Ingold, 2011, p.68) in a constant state of growth. Entanglement defines these endless connections as part of a “meshwork” (Ingold, 2011, p.70). An idea I found intriguing from the in-class discussion was the capacity for either harmony or destruction within the connections of entanglement, or perhaps a combination of both.

In response to this rhythm of entanglement, my artefact explores the “lines of growth and movement” (Ingold, 2011, p.71) that exist within the bridge in my environment. Through a selection of close up shots, superimposition and collages with added sound effects of birds, bike bells, construction sites and  flowing water I endeavoured to explore the connections derived from a seemingly inanimate bridge.

Taking on in-class feedback, in future I should attempt to include closer close-ups of objects and plants to allow an extended intricacy. Through these close-ups I could explore a more abstract perspective, looking further than the primary and arguably simple entanglements of water and trees and challenging myself to truly see the unseen.

References: Ingold, T. (2011) ‘Rethinking the Animate, Reanimating Thought’, in Being Alive: Essays on Movement, Knowledge and Description. London: Routledge, pp. 67–75.