​Shot on an iPhone 6 in portrait mode to give the film limited perspective, the footage is intentionally restrained. Colour matte and enhancement were added in Premier Pro in order to dial down the vibrancy of colour on the original footage. Twenty minutes were shot at the site and this footage was edited down to five minutes. Clips were added randomly to create a disjoined and abstract affect without a central narrative. Ambient sound and authentic war sounds were sourced from the public domain.

Sound is the focus of this piece as the intent is to convey a layering of time. ‘Buried’ responds to one of my major research projects on ruination. A paper I am working on called ‘Private Access’, examines ‘lost’ monuments which have not been converted into tourist spaces and are often ‘hidden’ amongst new builds or blanketed by nature. My paper questions the psychological impact living with ‘raw’ ruins (not preserved or part of a tourist site) and how the ruin can act as a mnemonic aid to retaining lessons from history specially involving destruction and threats to the human. Moreover, my work on ruins addresses how ruins can prompt visitors/witnesses to contemplate loss – both the loss of those who would have inhabited that space and the future loss of their own selves through the inevitable repetition of ruination and rejuvenation. The decay of familiar structures (in this case a military structure but also houses, vehicles, public sites etc) means we are surrounded everyday by loss and deterioration; recognising that we look upon the dereliction of our own human toil and work brings us closer, perhaps, to imaging our own end – both in terms of life span but also the potential destruction of the human race. Ruins help us imagine what apocalypse may look like. The smothering of some ruins by nature, as in the case with the military site in ‘Buried’, further compounds the understanding that human experience is brief and temporary. While ruins do engage in the mnemonic process and remind us of historic events (here, war), when some sites are left to completely deteriorate and are lost from history books they can become abstract. In ‘Buried’ despite the lack of intervention by preservation groups, the conflicts of the twentieth centuries are familiar enough to inspire appropriate soundscape. This ruin can engage in the mnemonic process and does interact with time on numerous levels; however, some sites either completely buried or unrecognisable are, for the most part, silent.