Piece Mandala/End War
Paul Sharits, 1966, 5mins, USA, 16mm, colour & b/w, sound

Blank colour frequencies space out optically feed-fuse black and white images of one love-making gesture which is seen simultaneously from both sides of its 'space' and both 'ends' of its time/dedicated to Frances Sharits.
– Paul Sharits

Charlemagne 2: Piltzer
Pip Chodorov, 2002, 22mins, France, 16mm, colour, sound

A precise notation of a concert by Charlemagne Palestine through a process of visual discordance. The 6495 notes played in the concert correspond to 6923 frames of super 8 film. No frames are left out or were printed twice. The speed of notes playing controls the speed of frame succession. Discordant diminished fifths are translated into the following methods of visual discordance: flicker between negative and positive, between blue/yellow, between red/green, between different flicker frequencies, between clusters of b/w negative and monochromatic frames, between left right screen masking and mirror image printing, between cross fading between negative and positive images. – Pip Chodorov

Fil(m)
Frédérique Devaux, 2001, 4mins, 16mm, colour, silent, 18fps

I wanted to make a kind of split-screen. So I put many images in the same pictures, working with 16mm, super 8mm, 8mm, 9,5mm, 35mm…
– Frédérique Devaux

The Visitation
Nathaniel Dorsky, 2002 , 18mins, USA, 16mm, colour, silent, 18fps

The Visitation is a gradual unfolding, an arrival so to speak. I felt the neccessity to describe an occurance, not one specifically of time and place, but one of revelation in one's own psyche. The place of articulation is not so much in the realm of images as information, but in the response of the heart to the poignancy of the cuts. – Nathaniel Dorsky

Rex
Karl Klomp/Tom Verburggen, 2005, 4mins, Netherlands, MiniDV, colour, sound

Rex is a hyper-kinetic audiovisual composition with the tools as co-authors. MovieBox #9 (Pinnacle’s a/d video converter) is one of the most respected a/d-converters, a must-have in the video editing world. Out of phase signals and vertical and horizontal sync provide a glitch-image on the MovieBox #9. The carefully scrambled signals are made on a circuit-bend video-mixer, the Sony XV-A33F. Thanks to Karl Klomp for editing and trying to controlling the glitch. Special thanks to the original audio-track Rex by Toktek.

http://www.karlklomp.nl

Synchresis 1.2
Mark Fell, 2006, 4mins, UK, MiniDV, colour, sound

Synchresis 1.2 explores the relationship between colour sound and duration in a new way. Synchresis is a term invented by the film theorist Michel Chion meaning: "the forging between something one sees and something one hears - it is the mental fusion between a sound and a visual when these occur at exactly the same time. Synchresis is an acronym formed by telescoping together the two words synchronism and synthesis". I have developed a way of treating the duration sound and image together - so a clip can be frozen, slowed down indefinitely, speeded up, looped or edited in real time - and the original pitch relationships of the sounds captured will remain intact. For example when you slow an image down it doesn't suddenly change colour, however, this is what traditionally happens to sound. The software I've built enables the duration of sound and image to be changed in real time: event can be frozen at a given frame, and the sound on that frame will be frozen in the same way as the image.
– Mark Fell

http://www.markfell.com

Komposition in Blau
Oskar Fischinger, 1935, 4mins, Germany, 16mm, colour, sound

Colorful geometric figures are set in rhythmic motion. The music from Nicolai’s 'The Merry Women of Windsor' is impressively visualized through a blending of form and color. Fischinger created wooden cubes and cylinders as three-dimensional animated models, approximately as tall as a cigarette, some of them painted and others covered with fabric. «At first the set seems to reveal a room. But then the floor begins to reflect the geometric figures. Cubes perfectly-aligned in a row, forming a flat mosaic-like surface, tumble apart to form a stairway. In this perpetually changing universe, a cylinder pounds at the floor and sets off a series of waves, and a decorative, flat circle flies into the empty space. The beauty of the colored, geometric forms—a yellow rectangle descends gracefully into the frame—escalates to the frenzied magic of the impossible. – William Moritz

Bohor
Liubo Borissov, 2005, 4mins, USA, MiniDV, colour, sound

This visualisation of Xenakis' 8 channel electroacoustic work Bohor was commissioned by Columbia University Computer Music Centre. Borissov worked from the score which consists of complex geometrical drawings and textural elements. The score was deciphered using mathematical analysis of the sound material, matched the score to pitch, amplitude and the audio spectrum. The source materials for the sound are a Laotian mouth organ known as the khen and various bracelets from Eastern countries. His technique of transforming and amplifying elements of very soft sounds in order to bring out their hidden structure is apparent throughout the work. Xenakis deliberately said little about Bohor in order that "the imagination of the listener is left so free to choose a story or to image its own way or follow an itinerary

Commingled Containers
Stan Brakhage, 1997, 3mins, USA, 16mm, colour, silent

This return to photography (after several years of only painting on film ) was made on the eve of cancer surgery - a kind of 'last testament' – if you will… an envisionment of the fleeting complexity of worldly phenomenon.
– Stan Brakhage

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