CINEMATIC
LANDSCAPE
EXCHANGE
Title: ~8km in ~8min
Name: Izu Campbell-Lange
Voiceover: Izu Campbell-Lange
Sound: Various
Hadrian’s Wall drew a 73 mile long section line directly within the landscape of the North of England, holding the two coasts of the Irish Sea and North Sea in tension. However since its conception, the continuous line of the wall has eroded, as has its eponymous value. Gaps have emerged in the a wall where stones have been moved; appropriated into surrounding fences, churches, houses and other walls. This has formed a fragmented section, a travelling section line. The idea of spolia as a kind of skein, conveys an overlapping of portraits, where the facing stones characterising the wall become the face of other structures.
In becoming a dotted line, pedestrians following its length become its authors, archeologists, and conservationists. (Gestalt theory, posits that humans read a completed form from an incomplete depiction, which underscores the notion that perhaps the historic value of Hadrian’s Wall, rooted in its monumental length, has developed more completeness paradoxically through its partial decay.)
The site commences with the ruin of Arbeia; Hadrian’s Wall’s eastern-most architecture, and stretches along the coast to Sunderland in the South (at 90 degrees to Hadrian’s a Wall) . I propose architectures of a dotted line, to be overwritten by others.
I’m positing that the construction of a dotted line is equivalent to list-making as it involves threading together different spacial and temporal locations and contexts. I will extend the atmospheric length of particular fragments of coast through this process:
I am writing a list through the drawing of a line.
This gathering of a dotted line of spolia found along the historic Durham coast into architectures is enacting the dissolving of Hadrian’s Wall walking wall in reverse.
Name: Izu Campbell-Lange
Voiceover: Izu Campbell-Lange
Sound: Various
Hadrian’s Wall drew a 73 mile long section line directly within the landscape of the North of England, holding the two coasts of the Irish Sea and North Sea in tension. However since its conception, the continuous line of the wall has eroded, as has its eponymous value. Gaps have emerged in the a wall where stones have been moved; appropriated into surrounding fences, churches, houses and other walls. This has formed a fragmented section, a travelling section line. The idea of spolia as a kind of skein, conveys an overlapping of portraits, where the facing stones characterising the wall become the face of other structures.
In becoming a dotted line, pedestrians following its length become its authors, archeologists, and conservationists. (Gestalt theory, posits that humans read a completed form from an incomplete depiction, which underscores the notion that perhaps the historic value of Hadrian’s Wall, rooted in its monumental length, has developed more completeness paradoxically through its partial decay.)
The site commences with the ruin of Arbeia; Hadrian’s Wall’s eastern-most architecture, and stretches along the coast to Sunderland in the South (at 90 degrees to Hadrian’s a Wall) . I propose architectures of a dotted line, to be overwritten by others.
I’m positing that the construction of a dotted line is equivalent to list-making as it involves threading together different spacial and temporal locations and contexts. I will extend the atmospheric length of particular fragments of coast through this process:
I am writing a list through the drawing of a line.
This gathering of a dotted line of spolia found along the historic Durham coast into architectures is enacting the dissolving of Hadrian’s Wall walking wall in reverse.
