Soundgated Images
Woody & Steina Vasulka, 1974, 8mins, USA, Video, colour, sound

In Soundgated Images, the Vaslukas undertake a tactile investigation into the electronic signal or waveform as a model for visual representation. They explore the notion of looking at sounds and listening to images. The signal from the soundtrack is used to control the image, so that we are invited to imagine the electronic waveform that unites both. The work is an early example of the Vasulkas' ongoing explorations of interfacing modes of simultaneously generated sound and image, in which abstract, processed images are transposed as electronic sounds.

http://www.vasulka.org

3 Minuten
Christoph Brunner, 2006, 3mins, Austria, 35mm on video, colour, sound

3 Minuten is a series of three shots analysing the phenomenon of visual interference by phase shifting over a period of 1 minute. Each shot shows the same analogue clock with a hand for seconds at the train station in Passau (Germany) and is recorded for exact 4 hours with 24 fps on 35mm film. The small difference between the shots is the length of the loaded film in the OiZ-magazine and the time of recording.

http://www.orteinzeiten.net

Lino
AVVA (Billy Roisz / Toshimaru Nakamura), 2006, 7mins, Austria / Japan, DVD, colour, sound

AVVA is the duo of Toshimaru Nakamura (no-input mixer) and Billy Roisz (video mixing board), based in Tokyo and Vienna respectively. AVVA stands for 'Audio Video / Video Audio', referring to the working method of the duo. Nakamura produces the music using the internal feedback from his no-input mixing board, Roisz uses that as the basis for her optical moving patterns, and Nakamura has a TV monitor showing Roisz' output, so the whole process is circular and created in real time. Lino appears on the Erstwhile DVD Gdansk Queen.

http://gnu.klingt.org
http://www.erstwhilerecords.com

River Yar
Chris Welsby / William Raban, 1997, 35mins, UK, 16mm, colour, sound

Shot through an upstairs window in a water mill on the Isle of Wight, overlooking a tidal estuary. A camera recorded one frame every minute (day and night) for two separate three-week periods in autumn and spring. The film is shown on two adjacent screens, each having a soundtrack that was recorded on a sampling basis.

http://www.sfu.ca/~welsby/

Leading Light
John Smith, 1975, 10mins, UK, 16mm, colour, sound

John Smith's Leading Light evolves a sense of screen depth and surface through the simple agency of light. The film is shot in a room over a period of a day and records the changes in light through the single window. The image is controlled through manipulation of aperture, of shutter release, of lens, but the effect is more casual than determined and the spectator is aware primarily of the determining nature of following sunlight.

Visions of a City
Lawrence Jordan, 1957-1978, 8mins, USA, 16mm, sepia, sound

The protagonist, poet Michael McClure, emerges from the all-reflection imagery of glass shop and car windows, bottles, mirrors etc in scenes which are also accurate portraits of both McClure and the City of San Francisco in 1957. At the same time it is a lyrical and mystical film, building to a crescendo of rhythmically intercut shots of McClure's face, seemingly trapped on the glazed surface of the city. Music by William Moraldo.

This is my Land
Ben Rivers, 2006, 11mins, UK, 16mm, b/w, sound

A portrait of Jake Williams, who lives a hermetic lifestyle in a remote house in the woods of Aberdeenshire. Folk film for the new millennium.
— Mark Webber

Let There Be Whistleblowers
Ken Jacobs, 2005, 18mins, USA, DV, b/w, sound

Advancing the techniques of his 'Nervous System' performances, Jacobs now treats archival film footage with electronic means, shifting his exploration of visual space into the digital domain. All aboard the mystery train for a journey from actuality to abstraction. Steve Reich's 'Drumming' provides added momentum.

Breaking and Entering
the Lost Timeframe
LoVid, 2005, 5mins, USA, DV, colour, sound

In this work, LoVid seeks to preserve information and moments lost due to encoding standards of video, that segregate time into discrete frames. Feeding back a continuous analog signal between audio and video makes sound visible and image audible while resulting in broken Sync and in Sync breaking the signal. By exploiting this broken sync, it becomes possible to enter moments that would otherwise be inaccessible. Produced in Owego, New York at the Experimental Television Center, using LoVid's equipment in conjunction with the Center's unique audio and video signal generators and processors.

http://www.ignivomous.org/projects/ lovid/

Heart Beat
Bill Etra, 1974, 1min, USA, DV, colour, sound

Bill Etra is the co-inventor (with Steve Rutt) of the Rutt/Etra Video Synthesizer used by video artists such as Nam June Paik and Woody and Steina Vasulka. He is also a founding member of The Kitchen in New York. In Heart Beat a telemetric transmitter monitors a woman's cardiovascular activity and sends the signal to a video synthesiser.

http://www.etra.com

Bridges Go Round
Shirley Clarke, 1958, 7mins, USA, 16mm, colour

By my standards, Miss Clarke's picture, an eerie close-up of the metropolitan bridges, is extraordinary. A film that captures the bizarre magic of man-made spans with the movement of a lightning clap and with the same terrible beauty.
— Howard Thompson

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n.3
Laure Prouvost, 2006, 1min, France, DV, colour, sound

Why, snow?

http://www.laureprouvost.com