Winspit (2016) explores the physical terrain of an old quarry on the cliffs near Worth Matravers in the Isle of Purbeck, Dorset. Using a motorized track and Ipad to phenomenologically track the lunarscape of the cave, the recorded footage is then played back at the same speed as once recorded. The captured footage, maps the reality of the physical site below, this in turn creates a physical effect for the viewer.
In Atlas of Emotion: Journeys in art, Architecture and Film (Verso, 2002), Bruno discusses ‘this shift away from the long standing focus of film theory on sight, towards the construction of a moving theory of site’.
This movement from optic to haptic reflects films’ position within the spatial arts, sitting more comfortably next to architecture and theatre than many of the visual arts. Traditional theories of the ‘filmic gaze’ fail to address the effect of spatiality, the act of crossing or inhabiting space are not explored or explained. Bruno suggests that we need to build a new theoretical map, as mobile as that of motion pictures, one must use a traveling lens and make room for the sensory spatiality of film, for our appreciation of space, including filmic space, occurs through an engagement with touch and movement. (Bruno 2002:16)