These works by CAMP are comprised of CCTV footage from 2008 and phone taps from 2009, respectively. In both videos, the source media is a result of surveillance systems: 206 cameras in Europe’s largest mall, and the government-tapped phone conversations of a lobbyist for large corporations in India. Capital Circus follows people through the camera network with match-cut continuity. Hum Logos uses montage to exacerbate questions of sound’s veracity, editing, and 'splice.'
CCTV Social: Capital Circus. 2014. India. Directed by CAMP. 20 min.
"The CCTV control room of the new Arndale Centre has full coverage of the mall's thoroughfares. Manchester was the first industrial city in the world, the city where Engels wrote The Condition of the Working Class in England. The mall in this historic city-center was the site of an IRA bombing in 1996, the largest on U.K. soil, and its rebuilding (to create the largest mall in Europe) was the start of Manchester city's regeneration program. A man walks through these now indoor 'market' streets, getting almost 100 members of the public to sign ‘image-release’ forms, which combines provisions from the U.K. Data Protection Act with the usual filming permissions. Through this we get access to the surveillance feeds from the mall’s camera network, and its methods of real-time videography, visible in Capital Circus" (CAMP).
The Radia Tap(e)s: Act II, Hum Logos. 2012. India. Directed by CAMP. 45 min.
When the Radia Tap(e)s, government-tapped phone conversations of a corporate lobbyist, leaked into the public domain in 2011 they underwent multiple 'phase shifts,' turning into TV sound-bites, proofs of scams, and lengthy online transcripts. Act I, Swearing-in Whispers, was a screenplay where some of these texts were regrouped in a courier 12-point, melodramatic format—the threat of a film. Act II, Hum Logos followed, beginning where the screenplay ended. Some 'top journalists' had claimed that they were just lying to Radia, 'a source' on the phone, and their conversations had no basis in and impact on reality, or that their conversations were spliced and cut-pasted, and thus not true. Here the tapes are even further edited. This montage paradoxically opens a window onto an even broader range of rhetorical devices: lies, cries, memes, schemes, pen drives, bad networks and family feuds, that pulses through the nervous system of Indian democracy" (CAMP)