ABSTRACT This photo-essay sutures and structures a massive pool of images emerging out of an art-project conducted by the author, CAMP Studio, Mumbai, and Kenneth Cyrus (cinematographer), in the context of Response, CIMA 25th Anniversary show, held during January-February 2018 in Kolkata. The project negotiated the multi-planar history of the city, and thus, by emphasizing on its heterogeneity, recreated a visual record of its chronotopia (Also see Foucault, ‘Of Other Spaces’, 22–27). The process was possible by setting up a camera on top of a defunct theatre – Gem (Entally, AJC Bose Road); and, by shooting ceaselessly for over 10 days an immersive and 360-degree time-space movement was generated. The project was first streamed live and thereafter, the edited material was staged inside the theatre, with which the (local) people/participants interacted. A play between recorded events and liveliness, the video (1 hour) brought forth multiple memories of the place (Gem), the locality and adjacent spaces, as well as a range of narratives of regarding noted and trifling events. The project involved a cinematic journey through the cityscape, and an engaging and challenging artistic quest by exploring the ‘kino-eye’. The omniscient camera-eye provoked us to become intimate with our immediate and distant contexts, and produced a dense tapestry of the city.

中文翻译：

---

城市景观：通过摄影机眼睛进入加尔各答的沉浸式历史

摘要该照片文章将作者CAMP Studio，孟买和Kenneth Cyrus（电影摄影师）的艺术项目在CIMA 25周年纪念展览“响应”中进行缝合和构建了大量图像。 2018年1月至2月在加尔各答。该项目协商了这座城市的多平面历史，因此，通过强调城市的异质性，重新创建了这座城市的视觉记录（另见Foucault，“其他空间”，22-27页）。可以通过在已停产的剧院Gem（原名AJC Bose Road）上安装摄像头来完成此过程。通过持续拍摄超过10天，产生了身临其境的360度时空运动。该项目首先进行了现场直播，然后在剧院内上演了编辑过的素材，（本地）人员/参与者与之互动。在录制的事件和生动性之间进行播放，视频（1小时）带来了对地点（宝石），位置和相邻空间的多重记忆，以及有关已记录事件和琐事的一系列叙述。该项目涉及到穿越城市景观的电影之旅，以及通过探索“ kino-eye”进行的富有挑战性的艺术追求。无所不知的摄像眼使我们变得紧贴我们的近距离和遥远的背景，并产生了密集的城市挂毯。通过探索“动眼”来进行充满挑战性的艺术追求。无所不知的摄像眼使我们变得紧贴我们的近距离和遥远的背景，并产生了密集的城市挂毯。通过探索“动眼”来进行充满挑战性的艺术追求。无所不知的摄像眼使我们变得紧贴我们的近距离和遥远的背景，并产生了密集的城市挂毯。