Drifting through Cityscapes Drifting through Cityscapes MTL final copy | Page 51

This leaves us with the question what the mark should look like to be
noticed? As this project continues we will need to explore its borders:
How far can we push the boundaries of authority within public space?
When will authorities stop us? What are the limitations of public space?
In terms of the projects digital afterlife on Instagram, it is not physical
enough because traces in cyberspace do not transfer to the real world.
The Internet is a different kind of space even though it partly depicts the
world. The time-lapse videos contain a lot of other connotations blur-
ring the image of our idea. This is why we decided to continue and
transfer the time-lapse videos to the medium of drawing. We projected
them on paper and followed the people with charcoal. For these paint-
ings we translated the video by creating three layers: the starting im-
age, the moment of movement, where lines are blurring and silhouettes
disappear, and the moment we stopped our observations. You could
say we subtracted the factor of time from the scenes, letting everything
happen simultaneously in the painting. Sadly we could not realize the
paintings in the whole group because the week of the block seminar
was barely enough time to develop the basic idea. Also field record-
ings of the sounds of places came a bit short and we could not suffi-
ciently integrate them into the project. Our collaboration in that week
was a good experience as each of us had a different artistic back-
ground and that was very refreshing and beneficial in our response to
the city of Budapest. The project profited from this coming together of
skills in different kinds of arts, media and photography. For an insight to
our brainstorm, visual inspiration and more traces we found visit our ins-
tagram traces_gom.
https://vimeo.com/305496766?fbclid=IwAR0J_u_vvyNJ_zx5uio8XKQUm76JEtpa-5h1DOD1fEEIFNYMKosL9p0w6TA