Camp Pilton at Glastonbury Village Screen was a summer camp pilot scheme at Glastonbury Festival 2009 for developers, producers, artists and curators drawn from across the UK. It allowed a rare opportunity to experiment, play and learn from our mistakes as we pitched in to develop content for outdoor screens – still under-utilised in public space but for the expanding dual network afforded by the BBC Public Space Broadcasting project and London 2012 Live Sites.
Led by Richard Crowe, 2012 Creative Programmer for the South West, Glastonbury Festival, Team South West and Relays (Legacy Trust UK programme) and including the UK’s network of Creative Programmers, screen agencies and BBC, the focus was a double-sided 25-metre screen sited at The Meeting Point in William’s Green. This hosted a mixture of curated short film programming, interactive installations and live footage.
Manchester based artists and academics Paul Sermon and Charlotte Gould are both full members of the Creative Technology Research Group at the University of Salford. Their project Picnic on the Screen consists of participants sitting upon two blue picnic blankets which are brought together through chroma-keying and placed within a computer illustrated background containing animated characters triggered by movement.
Tarim creates Media Playgrounds– installations which people can both play with and build new and different places to play in. Designed around a system called PTTP (Power To The People), it offers the ability to play using mobile phones, laptops, Wiimotes and public access kiosks. Instant Graffiti is an Etch-a-Sketch style projection on to both buildings and screens which people can draw with using a mobile connection.
Thomas Hall chose to revisit the Victorian parlour game of Consequences, itself adopted by the Surrealist art movement and applied to generate abstract images in the pursuit they called Exquisite Corpse. Using similar methods to the premise of a folded sheet of paper passed between authors/artists, live video captured by an on-screen camera muddled contributors bodies using time delay to mix heads, torsos and legs.
Enabling an open-mic karaoke session, Brendan Oliver’s The Followers presented a trio of animated characters in an imaginary band of the same title. Thanks to some great weather and a distinct absence of shrinking violets, the cream of Glastonbury’s (unbilled) talent queued up to sing to the assembled crowds, while the cartoon backdrop rocked, head-banged and thrashed air guitar in response to low, mid and high voice tones.
Jo Stevens presented his POPart abstract animations are generated using computer code and explore the power of abstract shapes through meticulous geometry; working with form, colour, space and graphic shapes to create work that takes the classic Cornish abstraction into a contemporary visual form. Aqueel Akbar completed the team with Globes, a Quartz Composer carbon footprint visualization, producing a digital body that reacted accordingly to such factors as on-site electricity, carbon dioxide, temperature, water usage and human movement. Also making an appearance was Sam Meech‘s The Huge Entity, which drew the attentions of a day-glo marching band.
AWARDED LONDON 2012 OLYMPIC INSPIRE MARK