SCALES IN ECOLOGY.
Woodbridge, New Jersey.
In our first sequence, the industrial scale, the welder is only a dot on the map. The map reader can only make out the circumstances
using the sound-portion of the landscape. However, in return, the reader is provided with contextual understanding of the site (such as the railway, pipes, and other infrastructures).
When the map reader gets to the last sequence, the personal scale,
the site is actually the same, but there’s a huge change in the scale of the map. When a different scale is introduced, the reading of the map changes entirely. We lose the contextual information, but in return, a sense of intimacy to the subject emerges, with the help of both images and sound.
In our middle sequence, we now exploit the speed as a parameter that we control, again, to give a different reading to a given information. Similar to controlling the scale of the image, we controlled the scale in which the footage is being played.
When the footage is rolling at its accelerated rate, each individuals is not perceived as a person, but a part of blurred crowd. But, when the footage is momentarily slowed down, We recognize their faces and characteristics and start to perceive them as samples of social ecology.
The controlling of the speed, in retrospect, works similar to blow-up details in construction drawings.
By exploiting the scales in two different dimensions (space and time), we aimed to expose the Industrial, Social and Personal strata of ecologies that take place in a township named Woodbridge in New Jersey.
Throughout the making of the film, we speculated how it is to be a resident of the town; sustaining a challenging job as a welder
at a desolate industrial estate along the railway and spending the free time at a shopping center.
And only through the medium of film, were we able to map these strata of ecologies of different qualities.
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