The catfishprojects-Bilbao.2009 (Spanish-Engish)

05- Consulate of Pakistan - genre: senso-drama
Surf is big on Sopelana beach. This is the setting for where Emma comes across the Pakistani Consulate. This building is next to a cliff which on its friendly side it is a house with some wonderful views, whereas on the side facing the sea it is a brutal fortress that reminds us of bunkers, war…of danger. The fortification was built to reinforce the building as it nearly fell into the sea in 1973... Emma contrasts the slender bodies of the surfers, and even her own lust, with the idea of danger and anguish that the Consulate creates and imagines the possible intrigues and political plots that have been talked about inside it.

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The catfishprojects-Bilbao.2009 (Spanish-Engish)

ESTEBAN TORRES AYASTUY PRO

INTRO. 1.ESPAÑOL / 2.ENGLISH

1.ESPAÑOL

La serie catfishprojects fue creada entre los años 2009 y 2010 para su emisión en la Televisión Vasca, EITB3. Estas 9 “píldoras audiovisuales” de unos 2 minutoscada una, se incrustaban entre programas o anuncios.

Plot
2…


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INTRO. 1.ESPAÑOL / 2.ENGLISH

1.ESPAÑOL

La serie catfishprojects fue creada entre los años 2009 y 2010 para su emisión en la Televisión Vasca, EITB3. Estas 9 “píldoras audiovisuales” de unos 2 minutoscada una, se incrustaban entre programas o anuncios.

Plot
2 chicas pretenden un viaje cercano sobre una ciudad concreta; Bilbao. De este arranque se entiende una realidad mixta entre el objeto de atención de ellas y el lugar exacto que ocupa en sus mentes.

Introduccion.
Estos clips utilizan las formas de clips de viaje en las que se representa un análisis de una realidad vivida por dos chicas dentro de un "supuesto revisitamiento" a Bilbao.
Físicamente describen o comentan lugares intermedios, o simplemente marginados de lo que se considera "visitable" - Esculturas fallidas "Balendín", atrevimientos públicos descomunales "Mari", Mubles en "Like dolphins" o lugares al límite de nacer o morir son materia de la mirada catfishprojects. Las imágenes son comentadas en off, y irán creando un doble viaje entre lo que se muestra - capa real o mesa de luz - y sus propias personalidades que descubrimos en sus apreciaciones - cámara de voz.

Física y mítica. Arquitectura catfishprojects

1.la mesa de luz
En estos clips hay dos capas: la superior que es el material filmado y que funciona como una mesa de luz, en la que se disponen imágenes. Es la parte hiper real e informativa del momento físico que propongo descubrir. Atiende a un momento exacto, con su sonido e imagen, del gran Bilbao. Las localizaciones son, antojadizas, en cierto modo outsiders a la realidad funcional de una urbe. Nos dicen que éste, es otro viaje.

2.cámara de voz
Completando esa idea de otro viaje, están las voces en off. Una capa fuera de plano en la que 2 comentaristas ocultas a la imagen - solo se le ve una mano a una señalando las localizaciones sobre fotos aéreas de Bilbao - la comentan dentro de algo mas parecido a un juego que a la información.
La imagen tatuada con la voz crea una vida paralela, un substrato de historia, una cierta mítica, dotando al lugar elegido de una personalidad y convirtiéndolo en localizaciones físicas de las experiencias de las locutoras.

3.Disonancias, elementos de traspase en la imagen
Hay elementos de textura que nos sirven como puntos de inflexión o de unión entre las 2 capas, que en general trabajan por separado.

Mano que señala
Es interesante extenderse en la mano que señala sobre la foto aérea. Aparece al poco de empezar "Like Dolphins" indicando un puente y deja caro que pertenece a la persona que desde la cámara de voces nos habla. Esta mano objetualiza la imagen, desde el momento que se permite señalar la hiper realidad presentada en la ortofoto de Bilbao.
Evidencia que lo que vemos es una tabla de imágenes a su disposición en el espacio y en el tiempo. Las localizaciones funcionan como una mesa de luz sobre la que nuestras guías señalan a posteriori.

Momentos negros
Son puntos de inflexión en los que desaparece la imagen y el sonido real, y que aprovechan las locutoras para remarcar la palabra lema del clip; en "Like Dolphins" concéntrate, en "Mari" constante, en " Balendín " posee. Es un traspase desde la cámara de voces hacia la imagen -a la que literalmente se hunde en negro- situándose la voz en primer plano. También es una máxima desnuda hacia espectador.

Conclusión
En estos clips hay un surtido de opiniones o customizaciones sobre "esa realidad" que ellas poseen a modo de gran postal de imágenes móviles. Sobre las que pueden interactuar opinando, señalando, secuestrando su luz, moviéndolas etc.Es esta participación o implementación sobre lo señalable lo que constituye el gran perfil de estos clips.

2.ELGLISH

catfishprojects

2girls intend to take a closer look at a specific town; Bilbao. 
From the outset it is understood to be a mixed reality that blends the object of their attention and the exact place it occupies in their minds... and from that moment on nothing will be the same.

Summary
We are talking about 2-minute-long films, the first series being set in the Greater Bilbao area - catfish Bilbao – while the settings for those yet to come cover other regions, countries and continents.

These videos take the shape of travel videos which give an in-depth view of the real-life situations lived by two girls by means of an imaginary revisiting of the scene.

This is the aesthetic path followed by one of them. They give physical descriptions or make brief comments about half-way places, or places that are merely not considered to be “worth visiting” - malformed “Valentin” sculptures, over-sized “Mari” public audacities, mullets “Like Dolphins” or “Diario Sefanitro” places that are on the verge of coming to life or of dying – these are all places that come under the Catfish gaze. The images are then commented on by 2 girls, who conjure up a double-sided journey between what is shown – the real layer or light table – and their own personalities which are revealed by what they say – a voice camera (see annex 1/ page 2).

By reading the annex titled catfish physics and myths the concept behind this project becomes clear, however, as when setting out on any journey, it will lead us to where the aim of this help is and which can be summed up in – new catfish formats.

Physics and myths. Catfish architecture.
These videos have two layers to them: the top one which is the filmed material and that acts as a light table. It is a hyper-real image that informs us about the moment – physical – that I aim to “discover”. It focuses on an precise moment, with its sounds and images, within what is the recommendable suburbia of Greater Bilbao.

The locations are fanciful, outsiders in a way, to the functional reality of a city. They warn us, or clearly prepare us for a kind of internal turmoil, camera in hand over the structures of the film. They are telling us that this is another type of journey.

The off-camera voices complete the idea of another type of journey. An off-screen layer where two female commentators who we do not see – except one of their hands pointing at the locations on aerial photographs of Bilbao – talk about what we are watching in a way that is more like playing a game than giving information.
The place where they are talking gives the feeling of being closed and dark, yet comfortable and clean at the same time - a voice camera.

The image tattooed on by the voice creates a parallel life, a substrate of a story, a certain myth that bestow personality upon the place that has been chosen and turn it into the physical location of the experiences lived by the narrators.

I would never dare to describe our guides, I would rather you come to your own conclusions as regards their personalities by watching the videos. However, they seem slightly foolish - which makes us ask ourselves about their morality – they find the things they see funny, they don’t mean to teach anyone anything, they only mean to give information. They are forever being astounded, they are Naïf, and they leave each place saying Bye, Bye, Adiós, adiós, ciao, ciao... and then giggle.

Dissonances. Elements that overlap with the image.
There are elements of texture that serve as a link between the two layers that, overall, work separately: the one presented in the image - the light table - and the off-camera locution, the confidential layer – the voice camera.

Here it is interesting to take a closer look at the hand that points out things on the aerial photo. It appears at the beginning of "Like Dolphins 0 1" pointing at a bridge and it is obvious that it belongs to the person whose voice we are listening to. This hand make the image an object, from the instant when it points out the hyper reality presented in the ortophotograph of Bilbao.

It tells us that what we are looking at is a board of images at its entire disposal in space and in time. The locations serve the purpose of the light table upon which our guides point things out in hindsight.

Hand pointing at ortophoto in "Like dolphins". Turning the image into a light table, or a postcard.

Among the different elements that we have discover as overlapping the image, it is also convenient to mention the black moments. They are turning points where the real image and sound disappear and during which the narrators put the stress on the central word of the video: in "Like Dolphins" it is ‘concentrate’, in "Mari" it is ‘constant’, in " Valentin " ‘possess’. It is a passing over from the voice camera to the image, which is literally flooded in black, where the voice is placed at the forefront, leaving everything open for the spectator.

As can be seen in the attached scripts - anexo 2/pag 4 – these are just a few examples of the array of overlapping elements between the voice camera and the light table.

Example of gradual fading of image in "Mari" while the voice finishes saying
... constant speed

conclusion.
There is a range of opinions or customizations in these videos that deal with their ‘reality’ as if we were dealing with moving post-cards. Interaction is possible by giving opinions, pointing things out, kidnapping their light, moving them, etc.

It is this participation or implementation upon what can be pointed out that the overall profile of these videos is built.

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