 |
|||||||||||||
|
|
|
|
|
|||||||||
|
Tree A camera is placed on the flexible branch of a tree in a strong wind. The composition included both stationary and moving trees (a wooded landscape). The relationship of this landscape to the vertical and horizontal plane was maintained as much as possible. The camera ran continuously until all the film was exposed. The world is seen from the point of view of a tree as its branches sway to the rhythm of the wind. – Chris Welsby |
Les Tournesols The film treats a field of sunflowers. The focus is adjusted
frame by frame in succession according to a series of patterns on particular
plants situated in different parts of the field. The diverse configurations
placed on separate frames of the film strip appear, when projected successively,
simultaneously on the screen to form one spatiotemporal image. |
|||||||||||
Whitchurch Down (Duration) This film is the beginning of an examination of the perceptual
and conceptual structures which can be dealt with using pure colour
sequences in loop forms with pictorial material. In this case the pictorial
material is confined to three landscape locations, and the structure
is not mathematically rigorous.
|
37/78 Tree Again Tree Again was shot over a period of several weeks on highly sensitive infrared film which had expired 5 years before. Kren took single frame shots from the same position of a tree in Vermont between summer and autumn. Kren said, "there was little likelihood of anything turning out on the film." |
||||||||||||
Land of Timoteus Steina begins with a shot of Woody (who took the name
Timoteus Petursson upon receiving Icelandic citizenship) sitting on
a rock overlooking the sea. She then switches between images of the
rocks and of the water, selectively keying certain areas (an effect
in which one video image is electronically inserted into another), so
that the imagery and the sound become increasingly abstract.
|
C-Trend One of many studies Woody Vasulka produced with the Rutt Etra Scan Processor. This tape has two, distinct sections, but both use footage of passing traffic as their source imagery. The first section's image has been manipulated on both x and y-axis with the Rutt Etra. The image moves in a horizontally circular fashion: the city street becomes a strangely warped and infinite, electromagnetic situation of movement. In the second section the focus is directed to the y-axis. The street still moves horizontally within the reduced frame, but is no longer nearly curling in upon itself. The image is transformed through sharp degrees of height, which become broken and angular.
|
||||||||||||
Susquehanna In Susquehanna, LoVid draws on similarities between the flow of water in a river and the flow of electrons in a circuit. This recording was made at the Experimental Television Center, located on the banks of the Susquehanna river, where the intersection between technology in the studio and the environment is particularly impressive. |
Decay Hatching Decay Hatching subjects electrical signal to distortion
and feedback, blurring sensory boundaries, by making sound visible and
image audible, and resulting in broken Sync. In the process of managing
the broken Sync, the signal is reborn as new video with altered www.ignivomous.org/projects/lovid/
|
||||||||||||
Chronomops Chronomops opens up a shimmering, colourful space that is simultaneously an excess of colour, frenzy of perception, and pop carousel. An abstract architecture of vertical colour bars is set in endless rotation, whereby the modules and building blocks fly around themselves – and the entire system likewise rotates. – Christian Höller
|
Uta Zet The constant surrender to interrupted line interlacings (caused by failed calculations) and the remaining reality – codes comprising columns of figures or words apparently found coincidentally – give this symbiosis a symbolic character. The raging rhythm of the geometry of Renate Oblak’s video images and the furious fragments of sound in Michael Pinter’s music refuse to reproduce (or distort) the visible world; confronting us instead with their own intense, artificial and seemingly technoid realm. – Christian Scheib
|
||||||||||||
#11, Marey<->Moiré #11, Marey <-> Moiré is an abstract composition of light and sound in which the mechanics and optics of cinema are not the means but the end. Images are generated using long stroboscopic exposures, resulting in a neo primitive kind of op-art. A tribute to the scientists who laid the foundations for the film medium.
|
