experiments in projection installation: i spent last night in the studio experimenting with different way to project my stereo landscapes recorded on two separate cameras – testing different ways they could layer on top of each other yet still read as left right frames and overlapped sufficiently in the middle. when i was happy i filmed the projections from different angles and also filmed myself as viewer/shadow in the frame to show the scale and viewer in context. i would ideally like to scale these up for a physical setting but for digital exhibition purposes this scale works at 16:9 ratio. my intention is to find a way to physically exhibit this work when the restrictions are lifted and things return to … whatever they return to? so when setting up the projectors i kept in mind that they would need to be practically installed either as 2 projectors on tripods on the floor or wall/ceiling shelf mounted. i thought it was important to keep this setup semi-achievable as a physical installation. i also recorded the projections close up and think that as a video piece on a monitor this might work in some way also… for next week.
central view
left view
right view
as viewer
experiments in soundscape: following on from earlier experiments looking at different ways to create a stereo soundscape, i redeveloped my stream of thought narrative – as a time-delayed/out of sync stereo soundscape with some varying words at times to again to interrupt and play different ideas together – mainly as subjective experience against some facts and objective information. the title has changed to contemplating a mountain – as the gaze in the visuals seems to suggest and also as a nod to nan shepard as her views gender attitudes to tops of mountains. i also reread passages of susan griffin’s woman and nature again making note of her ability to follow and switch in her thoughts. i think the act of contemplating a mountain seems relevant at the moment – confined and unable to go to the mountains to walk, gather, record, make. the content switches between my physical being there and my aspiration to be there – a real and ideal, a subjective and objective. for the digital exhibition i spent a lot of time cleaning up the sound and also included the sound of the projectors as it gives a sense of the work in situ. i plan on editing this so that it ready for a physical submission when the times comes.
notes on glenasmole: i have been researching this particular landscape of glenasmole. glenasmole is on the out skirts of Dublin – a rural world running beside the urban. the areas has a deep history going back to the mythologies of Fionn Mac Cumhaill and has one of the oldest graveyards in Ireland. The name means glenn of the thrushes – gleann na smol . Glenasmole is mentioned in many of mythical stories about Fionn Mac Cumhaill and the Fianna. it is said Fionn enjoyed hunting here with his dogs for red deer and elk. The mountain in the glenasmole valley is called Seefin – seat of Finn, where Fionn and the Fianna feasted there after their hunts. Records show that glenasmole was an Irish speaking area into the 20th century. interestingly – glenasmole was formed during the ice age by a glacier and consists of two valleys – a higher one and a lower one.
glenasmole in legend. i came across a mention of glenasmole in a written account of Oisin and Tir na nÓg (Celtic Encyclopedia) – glenasmole seems to be where Oisin fell off his horse and died when he returned from Tir na nÓg
references:
Healy, Patrick. “The Valley of Glenasmole.” Dublin Historical Record, vol. 16, no. 4, 1961, pp. 109–130. JSTOR, http://www.jstor.org/stable/30102712. Accessed 22 Apr. 2020)
elaine crowe 
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