Of the work I presented during the cross-year tutorial (see 2-13), my iterations exploring Paris as a site were far better received than those which sought to re-align my focus to the more accessible location of Elephant & Castle. In fact, it was generally suggested that the means I had chosen to explore intersecting narratives/histories as intangible forces in space, through a series of physical frames, as something of a dead end with regards to engaging with the site in question.
I had proposed during the conversation that the form of this physical method be influenced less by fixed images of the past, but more by conversation and human narrative so as to create a more direct relationship between the identity of the site and its physical actuality; this was generally seen as a possibility for a more effective expansion of the idea.
However, the notion generally prevailed that my Paris-related experiments were more interesting, particularly the ‘Tour 14 x 15’ film (see 2-13). There were suggestions that simply expanding this film to incorporate further instances of the Eiffel Tower on camera would perhaps allow it to more effectively portray its intention to challenge the codified relationship we have with space when encountering it through media.
Alternatively, it was suggested that I might consider accommodating multiple moving image mediums through which the Eiffel Tower has been portrayed; for instance, alongside cinema clips, individual recordings from social media or video from news reports may better illustrate a multiplicity of ‘versions’ of space that better embodies some of my initial thinking on landscape identities (see 2-11).
In addition, there was a suggestion that the medium of the film itself could serve as an additional form of interfacing with site; projection or placement of the film within the space would perhaps allow its intervening quality to better influence the viewer—located within the site themselves—and instil within them a way of viewing, much as James Benning had attempted to do with his film 13 Lakes (see 2-13).