Beginning with 36.5 / North Sea (iteration 4), Sunde decided she would collaborate with local Dutch filmmaker, Jonas de Witte, to capture the entire performance in real time from multiple camera perspectives. For 36.5 / Bay of Bengal, this concept continued and Sunde worked with Bangladeshi filmmaker, Saiful Wadud Helal.
The video works are thus same duration as the corresponding performance works:
36.5 / North Sea: 12 hours, 46 minutes
36.5 / Bay of Bengal: 12 hours, 21 minutes.
They are edited swiftly with purposefully long, slow shots lasting 10-20 minutes, and then exhibited on location within two weeks.
They can be exhibited as a 2-3 channel installation, or combined to create a 4-6 channel installation. When installed as a 2-channel, the same durational video work is shown on at two screens: the left channel starts at 00:00:00 and right channel starts exactly halfway through, ie. 06:23:00 (North Sea) or 06:10:30 (Bay of Bengal). The video then runs on a loop, ideally for 24 hours/day. The size is variable, but preferably large-scale on a suitable wall and/or as a surround experience with comfortable seating in the middle to encourage viewers to come and go or stay for substantial amounts of time.
The sound is layered and almost subconscious, played at a low level. For each location, sound artist/composer Joshua Dumas creates new layer of audio based on local sounds and climate data. This new layer of audio functions in relationship to the previous locations, slowing growing a complex and layered low-level symphony.
Once the primary six international performances are complete, the final form video installation will consist of at least 12-channels of video (two or more per location) with six layers of audio (one per location), that can be acquired to be shown in various spaces around the world – in full scale or on a smaller scale as needed.