methods of investigating
interactions
The location I chose for this investigating project was an outdoor gym in a park next to where I live. I observed and investigated using different methods such as sketching, photographing, videos and sound recordings. I also looked closer at the details of the gym, focusing on the patterns.
interactions
A lot of what we spoke about during our first tutorial session was “what makes each location unique?” In my case it isn’t the fact that the gym is outdoors or due to the choice of machines. What makes my location unique is the interactions that happen there. The interactions between the people and how they interact with the machines and the space. I went back to the location several times. Sometimes it was empty, sometimes there was a group of young adults participating in an open work-out session, other times there were families with younger kids playing and using the space in a more playful way.
I chose to visualise this idea of interactions by looking at the shapes of the gym and how they interact with sounds from the people using the gym in different ways.
Combining the shapes and sounds to create a new constellation to see how the shapes can interact in a different way with the location
written response
The chapter “The Street” from Georges Perec’s Species of Spaces closely relates to my investigation of location, particularly in the process and methods of observing everyday scenes. Perec emphasises the need to “force yourself to see more flatly” when observing, suggesting that one should observe slowly and even “stupidly” to capture what is most common, obvious, and seemingly uninteresting (Perec, 1974). This method of paying attention to the mundane resonates with my own approach, encouraging a shift away from the expectation of finding something extraordinary and instead focusing on the unnoticed details of daily life.
Perec’s approach to observation also aligns with my work, particularly his idea of not having a final outcome in mind while investigating. He undertakes a work-in-progress project, where he chooses twelve places in Paris to which he feels attached and writes about them twice a month. One description is written on the spot, while the other is written from memory, away from the location. He reflects that “only in 1981 shall I be in possession (…) of the 288 texts issuing from this experiment. I shall then know whether it was worth the effort” (Perec, 1974). This mindset of working without the pressure of an immediate conclusion has inspired my own investigative process, serving as a reminder to immerse myself fully in observation and exploration before fixating on a final outcome.
Similarly, Agnès Varda’s documentary The Gleaners and I offers a complementary approach to my investigation. Through filming, interviews, narration, and sound, Varda captures the lives of modern-day gleaners in France’s cities and countryside. Her tendency to follow unexpected paths in her creative process is particularly compelling. For example, in one scene (0:49), she mistakenly films her camera lens cap dangling as she forgets to turn off the camera. She chooses to keep this footage and adds jazzy music to it, transforming the unexpected into a playful moment. Varda’s integration of sound with image to enhance meaning also relates to my investigation, where I have similarly explored the combination of audio and visuals.
Both Varda and Perec highlight the importance of detailed observation, revealing how much beauty and significance can be found in the ordinary and overlooked. Their approaches have inspired my investigation, reminding me to embrace the unexpected and pay closer attention to the beauty of the everyday.
Bibliography:
Perec, G. (1974) ‘The Street’, in Species of Spaces. 1st edn. London: Penguin.
Varda, A. (2000) The Gleaners and I. France: Ciné-Tamaris.