105742885 Calculation of Pressure Traverse Using Beggs and Brill
CV & contact Shipsides and Beggs Projects - THE IRON WAY ...
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12/09/2019 Shipsides and Beggs - THE IRON WAY - Pre-Fix Venice www.danshipsides.com/DshipsidesWeb/Venice17.html 1/8 Shipsides and Beggs Projects - THE IRON WAY. Pre-Fix, Venice Home CV & contact Texts Bibliography Projects THE IRON WAY (Originally titled 'Decimation in D') Shipsides and Beggs Projects Performance of music, sound, spoken word, video and animation. Approx 90 min 2017 Shipsides and Beggs Projects PRE-FIX Microclima / Catalyst Arts. Serra Dei Giardini, Venice Biennale, 2017 Audio Visual performance/happening performed at Microclima in the Giardini della Biennale, Venice, commissioned by Catalyst Arts. A socio-phenomenological, transversal audio-visual work exploring the altitude, geo-political legacies, brutalities and strange poetics of the Dolomites’ mountain frontier of World War 1. The spine of this work processes the elevation data gathered from the frontier into a soundscape which connects and laterally morphs ‘pata-perceptively into songs, anecdotes and visual art. Above images: 1,3,4,5,7,8,9,11 credit Danto Productions THE IRON WAY edits A, B and C: Video documentation edited into new video works: This gives a good sense of the performance but works better as three short stand-alone edited artworks. A lot of the material has been edited out to develop a simpler coherency in the content and form. Credits: Live, raw video and audio footage: Danto Productions. All other footage, audio and editing: Shipsides and Beggs Projects. THE IRON WAY. Edit part A. https://vimeo.com/252060855
Transcript of CV & contact Shipsides and Beggs Projects - THE IRON WAY ...
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ShipsidesandBeggsProjects-THEIRONWAY.Pre-Fix,Venice
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THEIRONWAY(Originallytitled'DecimationinD')ShipsidesandBeggsProjectsPerformanceofmusic,sound,spokenword,videoandanimation.Approx90min2017
ShipsidesandBeggsProjectsPRE-FIXMicroclima/CatalystArts.SerraDeiGiardini,VeniceBiennale,2017
AudioVisualperformance/happeningperformedatMicroclimaintheGiardinidellaBiennale,Venice,commissionedbyCatalystArts.Asocio-phenomenological,transversalaudio-visualworkexploringthealtitude,geo-politicallegacies,brutalitiesandstrangepoeticsoftheDolomites’mountainfrontierofWorldWar1.Thespineofthisworkprocessestheelevationdatagatheredfromthefrontierintoasoundscapewhichconnectsandlaterallymorphs‘pata-perceptivelyintosongs,anecdotesandvisualart.
Aboveimages:1,3,4,5,7,8,9,11creditDantoProductions
THEIRONWAYeditsA,BandC:Videodocumentationeditedintonewvideoworks:Thisgivesagoodsenseoftheperformancebutworksbetterasthreeshortstand-aloneeditedartworks.Alotofthematerialhasbeeneditedouttodevelopasimplercoherencyinthecontentandform.
Credits:Live,rawvideoandaudiofootage:DantoProductions.Allotherfootage,audioandediting:ShipsidesandBeggsProjects.
THEIRONWAY.EditpartA.https://vimeo.com/252060855
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THEIRONWAY.EditpartB.https://vimeo.com/253665319
THEIRONWAY.EditpartC.https://vimeo.com/253667318
THEIRONWAY.PartA.
15:56
THEIRONWAY.PartB.
12:29
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DecimationinDparts1,2,3,4and5:Videodocumentationofthefullevent:Thisgivesagooddocumentastothefullperformanceandallthematerialwithinthework.NB;Somesectionsarereconstructedastheliverecordingwasanotacompleterecordingofthefulldurationoftheevent.
Credits:Live,rawvideoandaudiofootage:DantoProductions.Allotherfootage,audioandediting:ShipsidesandBeggsProjects.
DecimationinD.Part1(of5)https://vimeo.com/247505910
NBOvertheMountainisover-dubbedfromaperformanceatLeBelOrdinare,Pau2016
DecimationinD.Part2(of5)https://vimeo.com/246472025
THEIRONWAY.PartC.
10:45
DecimationinD.Part1(of5)
13:01
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DecimationinD.Part3(of5)https://vimeo.com/245453362
DecimationinD.Part4(of5)https://vimeo.com/249078118
DecimationinD.Part2(of5)
22:53
DecimationinD.Part3(of5)
09:12
DecimationinD.Part4(of5)
23:49
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NB.Somevaguelymaturematerial.NB.Duetolackofliverecording(thispartwasmissed)theAbjectSummitsectionisover-dubbedfromatalkattheKendalMountainFestivalin2016-hencethedifferenceinsoundqualityandlacklivefootage.Allthevisualsinthe'missing'sectionarefromthematerialprojectedduringthisVeniceperformance.
DecimationinD.Part5(of5)https://vimeo.com/248463234
NB.WARPIGSisover-dubbedfromaperformanceatL'Atelier,Nantesin2017.
TheperformanceoftheDecimationinDpartitionwasinterwovenwiththefollowingsongs:GoingAcrosstheMountain(OldTimer)GoingovertheTop(SBP)FrontierSoldier(SBP)StillNotOutOfTheWoods(SBP)MountainBird(SBP)WarPigs(BlackSabbath)PoorPilgrimofSorrow(OldTimer)JustbeyondtheBorder(SBP)WithdrawingfromtheVisual(SBP)
Videoworksincludedintheliveperformance(orre-editedintothenewworkare)
BIVACCOMASSHERMITVOLUMEYUPASTARZOMBIELINESTILLNOTOUTOFTHEWOODSSHUMMITWARPIGS-KARAOKENOTTANUM–WARPIGSMORTAR|DEVICE
Theworkisanopen-workandwillbere-developedandre-performedtoexplorespecificthemesorresearchindifferentcontextsanddirections–eachtimegeneratingnewmaterialforfurtherresearch.
Text:
Through,video,music,soundandspoken-wordthisperformancefoldstogethernewartworkswithexistingartworks,songsandmaterials.Inmanyaspectsthisperformanceisaconsciousattempttocreateanewspaceacrosstheformatsofamusicgig,anartist’stalk,avideoscreeninganda‘livehappening’.Thenewaspectsofthisworkdeveloplongstandingthemes,topicsandresearchfromthewiderStillNotOutOfTheWoodsumbrellaprojectandmaterial.Inparticular,thisworkre-visitsourItalianDolomitesresearch(whichbeganin2009)stemmingfromourinterestandactivityinclimbingViaFerrrata(seeBIVACCO)andconnectingagainwiththeWW1
DecimationinD.Part5(of5)
18:49
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historiesoftheDolomite’smountainouswarfrontier.ThecoreelementofDecimationinDtakesthelineoftheWW1ItalianfrontierfromtheAdriaticseatothehighestpointintheDolomites,whichisMt.Marmolada(PuntaPenia,3343m)thenrightacrossthroughthemountainstothethewestcoast.Transcodingadata-setderivedfromfrontier’selevationheights,takenatregularpointsofthisborder,intosound(usingthesegmentingprincipleinsheet-musicwhichisFrenchiscalledpartition).Thetermpartitionalsoclearlyreferstoconceptsofgeo-politicalseparationsofbordersandtheconstructofthenation-state.Thisaudioprocessproducesaframeworkwhichliterallysoundsoutsthatgeopoliticalandtopologicalfrontier.Wethenusethataudioframework,inaseriesofpartitions,toweaveinexistingandnewsongs(someourown,somecoversof'oldtimer'ormodernorpopularsongsfromthegenresoffolk,rockandpop)usingsound-scapingasbridgingbetweensections.Theinitialsound-scapingbeginswithNealusingasmallironshrapnelball,whichwasfoundonMarmolada,torollalonghisguitarstringsgeneratingapeculiarandparticularsound.Othersound-scapingcomesfromrecordingsdevelopedfromthesoundofkarabinersrunningupthetensionedsteelviaferratawiresinthemountains.Aroundthisthereare‘artisttalk’stylespoken-wordelementswhichspeaktothevideoandstillimageswhicharebeingprojectedandintroduceorinformaboutthesongsandsoundweperform.Ithasaverycasual,openstylewhichattimesishopefullyalsohumorous.Thisisseriousandattimesdarkmaterialbutwegiveourselveslicencetomakeplaywithit.Infactthestrangetreemotif(oftwohandsplacedtogether)referencesthisstrangeplayfulness–theoriginofthetreemotifcomingfromWW1no-mans-landobservationpointswhichweredesignedtolooklikebombedouttreetrunks.Thespoken-wordintroducestheideasofresearchandprocessintermsofthesubjectmatterofgeo-politicalcultureandpolitics–basedaroundhistoriesandexperientialresearch.SowediscussideasoftheViaFerrata(meaningIronWay)asapoeticwayintoarticulationsaroundFascismandModernism,butalsoasawayoutofthoseoppressiveways,intoimaginingfuturemusicandcommunications–theguitarstring,thecounter-culture,electronicmusic(theoscillator)andtheinternet.ThetalkspeaksofalighteningstrikeweencounteredonMarmolada,towhichwebothrespondedwithsmallartworkswhichhereleadus,throughastarmotif,todiscussalinkbetweentheromanticsublimeofmountainousnaturewithit'sawe,terrorandfear,toamorestreetlevelsublimeterrorofNorthernIrishparamilitaries-inparticulartheBritishLoyalistterrorgroupsUDAandUFF.
WethendiscussideasaroundtherealitiesandconceptsofEuropeorEuropa(includingadiscussiononthemostbombedhotelinEurope,theEuropaHotelinBelfast)andcombinethiswitha‘demoralisation’oftheSummit–sothatwemightimagineanabjectsummit(seeSHUMMIT),whereduringWW1mountainsweretunnelledtoexplodetheenemy’sstrategicsummitpositions(seeYUPASTAR).Wethenalsocometosomepotentialforre-articulatingtheconceptofEurope(seeYUPA,RURRP,YORP–thephoneticpronunciationsofEuropebyatwo-year-oldboy).Fromherewefollowthatperiodofhistorytodiscusstheideaofthebicycle(andalsoinanotherlevel,theguitar)asbothatoolofindividualemancipationandavant-gardemotifs(e.g.JarryandDuchamp).Wejuxtaposeorintegratetheideaofthewirewiththebicycle–enclosureandmobility.Butwealsoframethebicycleasanagentofübermasculinityandthesupermalé,withboththeFuturistsandUlsterVolunteers(UVF)formingbicyclebattalions(seeZOMBIELINE).SteveJob’sefficiencyfuelledvisionofthecomputerservingasthe‘bicycleforthemind’thenleadsusintotheeraofmasscommunication,themediaageandtheriseofthenotionofzombie-hood.Allthischimesstronglywiththecontemporarysituationwherethereseemstobeablindsleepwalktothehardpoliticalright,towardsfascism,towardsdeepeningeconomicstructuresthatdrivesandnecessitatesconstantviolence,categoricaloppressionandaregimeofimagerhetorictoconditionsociety.InthissensethefulcrumoftheDecimationinDfrontierpartitionmorphsintotheBlackSabbathsongWarPigs,re-versionedasanelectronickaraoketrack(seeWARPIGS)ahandmadecrankiefilm(seeNottanum-WarPigs)andfollowedbyvideoworks(seeMORTAR|DEVICE)andfurtherfootageandaudiowhichdrawsusoffthemountainanddeeplybackintothewoods.Thewholevideoprojectionitself(whichactsmostlyasilentmovietowhichweaddthelivesoundtrack)constitutesanewvideowork.Itpurposelycombinespreviouswork(asindicatedabove)withnewlyeditedfootageandnewlymadevideoandanimationmaterial.Atheartthisprojecthasbeenamajorre-visitingofthearchiveofItalianresearchthatwehaveundertakenanddrawnfromformanyworks.Thisworkinghoweverreturnsustothestartoftheresearchwhichbeganin2009onourfirsttriptotheDolomites(viaVenice)andtowoodsinthefoothillswherewefirstmadeaSTILLNOTOUTOFTHEWOODStwigtextwork.InthissenseitseemedpertinenttoreturntotheregionandpresentthismaterialinVenice.Theactualperformancebeganinaperiodofchaosastheheavensopenedupwithaheavydownpourofrain.Sothewholeeventwasscrambledtoprovidecoverfortheelectricalequipment–buttheshowwentonandtheresultseemedtobesuccessful–inactuality,unusuallyfor‘artperformances’,therewasacallforan‘encore’whichalloweduspertinently(inrelationtotheVeniceBiennale)toperformWithdrawingfromtheVisualforwhichseveralmembersofthehostorganisationandKeefWinterspontaneouslyjoinedusinplaying.
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ZombieMaskforDecimationinDCommerciallyprintedflyermask.21x29cmeditionof100ShipsidesandBeggsProjects2017
KindlysupportedbytheBritishCouncilandACNI
