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Broadwalk The camera was positioned on a busy
pathway in Regent's Park, and recorded three frames a minute. The shutter
was held open for the twenty-second duration between exposures, so
that on projection, individual frames merge together making the patterned
flows of human movement clearly perceptible. The time-lapse original
was then expanded by various processes of refilming to reveal the frame-by-frame
structure of the original.
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Spacy A film whose subject is the place (A gymnasium), the time, (the 10 minutes the film runs), and the unconformity of the reality (the gymnasium), and the illusion (the representation of the gymnasium). All the components are strictly combined in an endless cycle, a Möbius stripe, an Escher’s film in a japanese tempo, from Slow to Fast, from Pianissimo to Fortissimo. |
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3/78 (Objects and Transformations) Sixteen 'objects', each consisting of one hundred points of light, perform a series of precisely choreographed rhythmic transformations. Accompanied by the sound of a Shakuhachi (the Japanese bamboo flute), the film is an exercise in the visual perception of motion and mathematical structure.
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Nacht LIcht A computer film in three parts. The images consists of 8 to 14 independent elements. Each part has its own, formal starting-point. On this formal basis, variations are executed by gradual changes in position, direction, movement, velocity and colour of the elements. |
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04_066_PAL_auda_jpg These two films are algorithmic animations based on a script programmed in Macromedia Director. The scripts use non-linear equations and attractors to generate abstract – almost organic – evolving forms.
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Water Water Water Water revisits the bathroom location of a previous film White Light (1996). It is based around a set of antinomies that operate at various levels, from between frames to between the two halves of the film. The black and white first part is composed of individually filmed frames (animation) which form shots of interlaced contrary motion that nevertheless can be read as sequences of individual frames, and/or in which alternate frames are lit in contrasting ways so as to emulate negative-positive juxtapositions. In the colour second half, dissolves replace cuts, light softens and contrast decreases. Continuity, by way of isomorphic features in the room, replaces the discontinuities of part one.
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Chicago This film was provoked by a trip on the overhead railway through the centre of Chicago in 1991. I filmed a twelve minute piece facing forwards in the direction we were driving. Three years later I came across the film material once more. The memory of it had faded, and its images were just as vague. So I worked on the material using a bleaching bath. The complex, cuboid-like architecture of the city came out in a test of the substantial and then sank back into the minority - dissolving to a lump of cosmic dust. I was first able to identify a projection of the experienced, within the undercurrent of disintegration. Many years passed by and dust settled on the filmcarrier. Sound researcher Thomas Köner ran the dust through the optical sound system on the projector and a crackling sound could be heard. He then undertook a more exact examination of this dust-noise. Ultimately a tone composition came to fruition, which I transferred onto the final copy of the film in the form of an optical soundtrack.
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Krypton is Doomed The original Superman radio play from 1940 accompanies the mind-bending 'Nervous Magic Lantern,' a filmless projection system that twists light into a perpetually throbbing mass of impossible depth. Presented by the filmmaker as a metaphor for the onset of WWII, the apocalyptic narrative could be read as allegory for the present, a world of instability with the potential of environmental collapse.
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The Space Between Time and space shattered into shards of light. Footage shot in India and thoroughly reworked in the optical printer into a rigorous, flickering duality. – Mark Webber |
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Redshift In astronmoical terminology redshift is a term used in calculating the distance of stars from the earth, hence determining their age. Redshift attempts to show the huge geometry of the night sky and give an altered perspective of the landscape, using long exposures, fixed camera positions, long shots and timelapse animation techniques to reveal aspects of the night that are invisible to the naked eye. The sound has been composed for the film by Benedict Drew, taking field recordings of the aurora borealis as a starting point, and using purely computer generated sound to create a soundtrack that reflects the unheard elements present in the Earth’s atmosphere. http://www.emilyrichardson.org.uk
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Mirror Morris, in a winter landscape, holds a mirror to nature, and to the camera. |
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OS X Tiger When the machine fails, the Mac's careful division between technology and the human begins to falter. OS X Tiger depicts a computer going haywire. As graphics explode across the screen we realise that what we initially understood as a computer glitch was, undeniably and against all reason, human. At this moment, the utopian vision of a harmony between man and machine based on reason and efficiency is replaced by a different kind of vision. – JODI Computing 101B
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