In our previous project ‘Brothers-In-Paint’ we found it paramount to visit many contexts where the social practices of paintball culture take place. This allowed us to not take the site as the location of the culture, but rather the practices as the culture itself, not defined, but co-existing with the spatiotemporal ‘places’ of activity and agency. Thus we visited 6 countries in attempts to gain more insight and a translocal appreciation of the social practices.
Risto had made smoothly scheduled arrangements for us to meet the central figures of the New York scene, and for him to simultaneously play a set or two in various locales. Firstly, we met up with DaveQ and headed out to Brooklyn to be a part of a SubFM radio show. Risto (Desto) ended up hitting the decks also alongside such pioneers as DaveQ – thanks Dave for taking such great care of us!
Later Risto was scheduled to play a set at a record store right under the Brooklyn Bridge. The place, Halcyon, was a vinyl enthusiasts playground and had a great soundsystem (especially considering it is a record store and not a club venue). Later Risto played at a venue called the White Rabbit. Too bad not so many people made it over. Fortunately, the interesting experience in Halcyon more than made up for this.
The main event for us, the Dub War 5 year anniversary, was truly a night to remember. We began by navigating through the masses of dubstep lovers making their pilgrimage. The place was packed like sardines in a crushed tin box already at ten when the party was only picking up. In terms of filming, we got amounts of intense contextual footage, and Risto did an admirable bit of legwork in order to grab such pioneers as Joe Nice and Alex Incyde, and the dubstep Internet forum creator Seckle for little back-and-forth with us in interesting back rooms and corridors while the party was booming. Even Skream popped into one of our interview sessions right behind the DJ booth – where we actually got quite a bit of action also. Thanks again to the New York scene for giving us such a warm welcome!
During our walkabouts through Broadway we had additional time to think about our up-and-coming editing process. As Risto has become an increasingly central figure in our work, we went further in our preliminary ideas about the arc of drama in what is to become the final product. Our first project, Brothers-in-Paint, was very much a conservative article-like showcase of how to, for the lack of better terms, create a videography that resembled an article in video format. How it exactly came out so, we do not know, but I do still remember our original ethos of really exemplifying how a theoretical perspective could be depicted on video. In retrospect, we might have overdid it a tad bit. Now, while we wish to still make a theoretical case, we will attempt to incorporate a much more entertaining approach, with Risto’s autoethnographic commentary hopefully bringing about a more interesting, theatrical, and continuous story line.
But to match Risto’s insighful autoethnographic story, we need contextually founded footage in situ. And certainly, as experimentality goes, we have found one of the most demanding contexts equipment-wise. Dubstep is certainly loud and noisy, taking an evident toll in terms of video and audio quality. Fortunately, again, we have Risto to work his producer magic on the audio, and we do expect decent outcomes. Moreover, the lack of video footage quality is more than compensated for by the graininess of the context presenting itself right in-your-face with all its loudness. As Rob Kozinets has pointed out before, social practices are bright, noisy and messy. Without completely slipping into the rabbit hole at this point, it can be noted that it is this loudness and messiness we are aiming to represent. An interesting comment by Lisa Marks seems to bubble up here too, as she was known to have said that what the film represents is often dull, but nevertheless the impurities and the scratches on the film material itself are perpetually fascinating. I would agree, and that is why we are not afraid of grainy material, when such outcomes go on to represent the murkiness of the many contexts we were introduced to in our underground travels. Because we dare to profess love for the loudness and embrace the grittyness of some of the video material as our equipment are maxed out, we gain more confidence in our perspective – the contextual representation of social practices in close proximity.
In order to accomplish this, I believe strongly that the video ethnographer must do as little of obstruction as possible, and therefore all we shoot is uncompromisingly in situ. This means, that even with the implications for video quality, we will not use additional lights and we will not be sticking lapel microphones around peoples’ necks. In our adventures in the dubstep scene this has not been purely an question of preference either, as the promoters of many club venues will not permit lighting for video works. An important concern arises from this preferred modus operendi, however. Equipment truly matters. Indeed, there must be something seriously wrong with our heads, as we are conducting video work in probably one of the most hostile environments. It is dark (often and often very much so) and it is loud (have you felt the subbass causing tremors in your spine and jiggling the clothes on you). To pull this silly feat off, we are no longer going in with equipment more at home in capturing the kids making sandcastles on a sunny Mediterranean beach, where the food was delicious and the wine was just right. While still nowhere near a professional outfit, we are now donning a decent videocam and a back-up video DSLR with lenses specifically chosen to lure in all possible trickles of light in the illlit places we happen to enter. See the post before this one for a more technical perspective (and gripe) into the contents our gear bag.
Yet again, what would we be, if we were hauling lighting and microphones into sweat drenched rooms packed to the rim with euphoric music followers being blazed by the club lights and battered with subbass that you can feel in your spine? That’s right, a distraction, an obstruction. Worse than that, we could become what I as an ethnographer fear the most, a odd academic peculiarities flailing about a context that will never again give us a pass. No, to get close to that sweat, that pounding, that energy, we must and will continue to go in light. What you see is what you get. And what you get is noisy and bright.
We’ll leave you with a couple more memories. Soon to come, our continued adventures in London.