INT. EXT. PLACE DAY/NIGHT

INT. EXT. PLACE DAY/NIGHT is a sonically-driven visual response to moving -through -with -against infrastructures; social, linguistic, political, industrial and mechanical, to reflect upon deeper entanglements and power dynamics present within everyday interactions. The title makes reference to the format of a script, suggesting a reading or a rehearsal is taking place. Taal layers sounds selected from group workshop scenarios with peers where scripting combined with participant-led dynamics informs the soundscape. INT. EXT. PLACE DAY/NIGHT seeks to move in and out of harmony with time, locality, voices and bodies.

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^{Inneke TAAL
INT. EXT. PLACE DAY/NIGHT, 2025
single channel digital video, 4 min 51 sec
commissioned by fine print for pause ~ play, presented for SALA Festival}

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INT. EXT. PLACE DAY/NIGHT

A series of moving images; COUNT; various infrastructure IN MOTION; WINDOW (passive); LINES; voices and industrial sound (INTO MIC); bodies; crescendo; SIREN (analog); (CONT’D.)

TIME (COL)LAPSE.

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TRANSCRIPT

[All moving images in a centre rectangular frame with black frame columns either side. All image descriptions hereafter referred to in [] brackets. Other sounds in (()). General soundscape is industrial noise and a group of English speakers with different accents in a group setting with background noise, no characters.]

00:00[figure's gaze and hand direct to camera, fingers counting up and then counting down; 00:15 cuts to blue sky with criss-crossing contrails] ((distant aeroplane sound, pencil lines being drawn on paper, firm crisp marks)) 00:44 Mannerly amenable servile; waaayward; naughty; aqui aqui; mutinous; Aquesc  Acqui Aqui Aqui; balky 01:02  accusant ACCUSANT ((lighting tapping of small dog paws)) 01:03 ((pencil marks on paper))01:28 [cropped frame of overhead train lines against blue skies with light cloud moving and placed in frame at different angles]...so i need to keep in keep in i need to keep having a dialogue ((doorbell rings)); ...uncontrollable; docile is like when...; ((whispered)) oh you want attention ((sound beneath of slowing electrical train)) 01:30 i'd like to ask you to all sit down; 01:34 this is confusing there and there's a square and there's a square, this is what i mean ((electrical train slowing; humming voices begin)) [green flat fields punctuated frequently by narrow canals out of a train window with a soft blue sky, occasionally bracken and trees block the view momentarily, gradually increasing in pace] 01:44 HmmmmmmmMMMMMMMMMMM 01:54 actually ((sucks in air)) sometimes it's twenty percent; so it's like you is twenty percent; yeah me as the twenty percent; and sometimes it's like seventy percent; yuh 02:07 ((tonal shift in humming and volume begins to increase))

mmmmmMMMMMMMMMmmmmmmmMMMMMMMMMMMmmmmmmmmmmMMMMMMM

MMMMmmmmmmmmmmmmmmm ((sloping down)) mmmmmmmmmmmmmmm ((wobbling))mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm ((increasing wobbling)) [transparent reflection of hands holding something overlays the window view] mmmmmmmmmmmm ((hum softening; undercurrent of electrical train speeding up)); 02:41  [frame cuts to a close-up of a spiders web in a crack, gently vibrating in breeze]02:55((humming becomes...cut up words as fricatives)) [overlaying a highspeed train moving past vertical pylons, flickering and occasional emergency sign of white arrow on green background stuck to a pylon] sphchkchfssshhhhhhhhhhhzzzzzztttztztztztztztztschprasprffhhhhshhkkkchtt huhuhuhuhu  ah HHHshschpaprr sprah klihe 03:06Shhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh 03:06 ((merge into sound of radio white noise))  [two figures as silhouettes of torso-legs-hands only through a semi-opaque curtain and window gathering a rope on a scaffold] ((small breath intakes can be just be heard over white noise)) 03:14 [cut to snow falling on a window from above] ((helicopter sound hammering in time to the snow flakes hitting the window gently; the sound of a distant siren emerges out of this noise until it becomes the main sound only)) 03:40 ((voices in unison emerge over siren))  hooooowwwww [frame is looking outward from moving train at night, dusty soft shadows and dark blue sky] ((single voices again in a crowded room)) sucked cheeks and a small pool of saliva; i'm finding it interesting that you're speaking now; in anticipation; a ten a tense moment... ((siren has become sirens from multiple directions, raising in tone and pitch))03:55 ...somewhere in the space of a word [cars on highway out train window outpaced by the train appear to be pulling backward while also pulling forward from one another] wet the space for the next for the next articulation without a voice... 04:05 [night scene out train window again, rectangular blurry lights from buildings with soft shadowy foreground] can you hear me? ((in unison)); i'm speaking; out loud; OUT LOUD ((spoken echo in unison)) 04:10 ((sound reaches a crescendo of voices and industrial train noise then falls away to internal train hum)) warm breath, as word and cheek; 04:17 [flickering window from a top corner apartment underneath a full moon in a light-cloudy night sky] how does English keep you out while getting in...;informs the fricative to come;...how does English...;consonant befriends you;...keep you out...;the echo of a consonant that befriends you...; and between; while getting you in...; 04:32 [a jolly christmas melody- only to "we wish you a merry christmas" in a cheap whiny electronic sound with motorised windmill in a glass cabinet with fake falling snow] the fricatives; the fricatives; wind you; AND; 04:38 [side-framed view of a crane arm moving upward anti-clockwise behind the steel-framed grid of a glass roof] are you speaking the truth; ...and echoes; ...forms the fricatives to come; ...an echo... [visual and sound fades to black]. 04:51

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