‘Modes of cultural production’ is a concept which is innate to both the Black Maria and Dubbing suite 5. Their architectural designs can be considered artefacts, of this idea amongst others.
The process behind ‘Bootlegging Black Maria’ references modes of production directly. With no official blueprints on record, the reconstruction was deliberately bootlegged; patched together by mining and cross referencing openly available visual materials online. Whilst usually carrying negative associations, as something to be concealed, this work puts the bootleg centre stage as a valid form of production; one with its own lineage, ecology and qualities.
What does it mean to bootleg a building? How would the blurry edges of a pirate copy translate through architecture? What is a low resolution building?
The process behind ‘Bootlegging Black Maria’ references modes of production directly. With no official blueprints on record, the reconstruction was deliberately bootlegged; patched together by mining and cross referencing openly available visual materials online. Whilst usually carrying negative associations, as something to be concealed, this work puts the bootleg centre stage as a valid form of production; one with its own lineage, ecology and qualities.
What does it mean to bootleg a building? How would the blurry edges of a pirate copy translate through architecture? What is a low resolution building?
In collaboration with architects from studios like Assemble a set of new homespun methods was developed. Each offered a different answer for what it means to create the architectural equivalent of a pirate DVD rip.
‘Angle compression’, ‘Burning sillouhettes’, ‘Pixel shrapnel’: These are some of the terms coined to categorise these methods.
The act of bootlegging and installing this recreation forms a gesture in itself, one which contains a kind of conceptual tripwire:
‘Angle compression’, ‘Burning sillouhettes’, ‘Pixel shrapnel’: These are some of the terms coined to categorise these methods.
The act of bootlegging and installing this recreation forms a gesture in itself, one which contains a kind of conceptual tripwire:
The original seed of moving image, nested within the industry that grew from it.
The foundation of primary image creation, reconstructed using the secondary sampling methods that ensued.
