This outcome simply frames moments of pure unfiltered shit chat where food is a lighter fuel for the conversation surrounding it.
The aim was to connect to the audience through means of relatability of theme and output, igniting an application of value upon their own conversations. The dialogue captured within my outcomes deliberately has little meaning nor does it hold much sense but, like the opening statement captures; it is purely just shit chat, what more does it need. 
This project has provoked an interest and inquiry into the dynamics of the ‘room’. Looking at this further, can be linked to the dynamics of space, environments and 'the gallery’ along with how each of these affect and alter the behaviours and interactions between the audience and your work. These explorations are present in the manifested form of the final visualisation. This can be co-explored and supported by the niche art form of environmental art, in which “artists create three-dimensional spaces in which the viewer can be completely enclosed in and involved in a multiplicity of sensory stimulations”. Conceivably relating to the intention to envelop my audience within my visual display of conversation.
The outcomes were engaging with space and scale. The placement of the outcome on a digital platform meant the intention was ambiguous yet served a result of being infinitive, this longevity is vastly contrasted to the brevity of a gallery exhibition. Situating things online is to in theory, make it exist forever. Marcel Duchamp, a pioneering figure of the Dada movement stated “it is not completed until it is placed out in the world and viewed by others.” This supports my theories surrounding the vitality of the audience and their existence. The success of my outcome relies upon its relatability to the subject of conversations or situations. I am aware the outcome holds very strong westernised attributes that aren’t worldly identifiable, however this is only based on the content and not the structure.
The audience bring their own ‘emotional baggage’ and past experiences which affect how they perceive the world, affirming that no one person will perceive my work the same.
This project has comparable themes to a previous project ‘information contamination’, where I explored the detrimental effects of the ever-increasing digital age, relating it to reduced clarity in making informed decisions. Alike the theme of over polluting with data and the digital conversation, this project aims to rejuvenate the ‘moments’ that static digital messages don’t hold, and bringing it ‘back to life’ in the eyes of my audience. Likewise, in relation to medium investigation this project has affiliations with the key use of sound as a harmoniser, bringing both text and image together through the integration of sound.
The role of the audience within this project could be seen to have two parts. One being the participant, the other being the observer. Due to the nature of the project in way of collecting the conversation, the audience member is an unwitting participant, unknowing that they are the spectacle. The use of unwitting participants can be ethically dangerous, Sophie Calle tested the boundaries of this in extreme forms of performance art. 
The true resolution to this project is not necessarily the outcome itself but the understanding and growth of consideration for a multitude of dynamics between space, location, audience and the interactions that combine them all together. 
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