THE ACT OF ENCOUNTER
Spaces that establish interaction, enable “encounter” and manifest performative behaviour
This project deals with ideas of encounter, interactive and demonstration. This project was based around setting up a laboratory whereby I isolate and analyse certain elements that concern "the Act of Protest".
My dissertation questions certain notions about the definition of public space: how protestors congregate and whether public space in necessary for protest. If we see ‘The Act of Protest’ through the eyes of Lefebvre, he simplifies protest to merely a collection of encounters. In his words “the urban is a place for encounter allowing for unforeseen events triggered by trivial and at times seemingly irrelevant social contracts.”
“In any politics of encounter, it is not in space that people act: people become space by acting.”
I am interested in understanding and designing the kind of space that is created as a result of encounter. These encounters can most commonly be understood through language and occupation of space, which go hand in hand; therefore i will portray both elements of interaction.
My drawings are a series of orchestrated events, moments and thresholds that guide observers through a narrative and therefore through a space.
“In the Politics of Encounter, it is not in space that people act: people become space by acting”
I am interested in understanding and designing the kind of space that is created as a result of encounter. These encounters can most commonly be understood through language and occupation of space, which go hand in hand; therefore i will portray both elements of interaction. My drawings are a series of orchestrated events, moments and thresholds that guide observers through a narrative and therefore through a space.
This lead to the survey stage, where our prop was constantly being tested filmed and analysed. I became interested in the continuous encounters that were generated while filming. This became the basis for my drawings, I drew the different roles in which each participant played and became interested in the performative nature of the shooting the film. The encounters consisted of people playing different roles in the room that we were shooting in, a studio space in Brighton University that we occupied for a day and a half. The goal was to make a stop motion film of our prop in motion.
I became interested in space we occupied and the narrative of making the film. Separate to the stop motion, I took a series of films with a go pro, through my core of vision of these encounters. I then created a scripted the conversations of these encounters. And finally producing a series of drawings of these encounters.
Certain Boundaries start to form, starting from the inside of the prop to the outside of the prop, the occupation of the room, and occupation of the space outside the room.
The drawing above is a 1:1 section of the prop created connecting the prop to the person to the outside of the space.
My initial drawings helped me identify which roles each person played in making the film. I could then clearly differentiate the role of "observer" and "manipulator" and how they could in fact be the same thing. The most useful drawing for me was the plan and the overlay on top helped me understand the different views each actor had.
It made me realise that the roles of each actor was determined by their view of the prop; therefore perspective drawings of each person became vital. While conducting these perspective drawings however i realised i was merely narrating a story and not questioning any spacial conditions or coming to many conclusions on my initial question, the spacial conditions of encounter.