A single-shot, choreographed portrait of the Foley* process, revealing multiple layers of fabrication and imposition. The circular camera path moves inside and back out of a Foley stage in Burbank, California. While portraying sound artists at work, typically invisible support mechanisms of filmmaking are exposed, as are, by extension and quotation, governmental violations of individual privacy.
A foley artist creates sounds for a film featuring a dressage horse and dissolves into their own imitation. As the character in the film, played by the gender fluid performer Simon(e) Jaikiriuma Paetau seems to transform into a gender-defying centaur, the film reflects on the boundaries between the human and the animal as well as on fictional gender roles and their transcendence. Shot on 16mm film, Passage alludes to Eadweard Muybridge’s pre-cinematic experiments with horses.
Written, Directed, Produced & Edited: Ann Oren
British-Ghanaian, writer, theorist and filmmaker Kodwo Eshun (b.1967) is known for his interest in the electronic mythology of sound. In this interview, Eshun discusses his desire to challenge the predominance of sociological inquiries into the historical and stylistic development of music. Eshun seeks to establish a model of inquiry that is much more concerned with the materiality of sound.
Filmed in the remains of Soweto's historic Sans Souci Cinema (1948-1998), YOLO is a makeshift structuralist mash-up created in collaboration with the Eat My Dust youth collective from the Kliptown district of Soweto, South Africa. Vibrating with mic checks and sine waves, resonating with an array of pre-roll sound — this is cause-and-e ffect shattered again and again, temporarily undone.
O humans, You Only Live Once!
A short Flicker Film adulterated by some extra images shot in Malawi, Africa. FF was in answer to an assignment given by artists Melissa Dubbin and Aaron Davidson who created the soundtrack to which I was asked to make a “Future Film”.
-- Deborah Stratman
As an ominous voice guides us through Best Is Man’s Breath Quality, we are confronted by dense and complex images and sounds that appear and disappear before us. From primates engaging with their reflected selves to glowing jellyfish drifting through deep and dark oceans, our visual perception of the human figure is decentered, leaving only the grain of analog and digital voices recognizable to our senses.
The video hovers tentatively between therapy, documentary, poetics and mystic traipsery and ends, like all good things, in surrender to song. There is a challenge presented (the challenge to engage earnestly with the piece as it requests) to fall into the breathing and pacing presented, and the challenge to view the video as a discrete piece of art at the same time. The piece relies heavily on the text, the disembodied Virgil through which the words become musical, instructive and (due to the absence of image) visual.
“This work by John Smith looks down onto a busy Viennese intersection and a corner bakery. Constructed from hundreds of still images, it presents situations in a stilted motion, often with sinister undertones. Through this technique we're made aware of our intrinsic capacity for creating continuity, and fragments of narrative, from potentially (no doubt actually) unconnected events.”
--Mark Webber, London Film Festival (2003)
An upside-down close-up of the artist’s mouth, Nauman repeats the words “lip sync” as the audio track shifts in and out of sync with the video. The disjunction between what is seen and heard keeps the viewer on edge, struggling to attach the sound of the words with the off-kilter movements of Nauman’s mouth.
This title was in the original Castelli-Sonnabend video art collection.
Intertwining associated experiments in image and sound generation using AI, Nearest Neighbor focuses on language acquisition and mimicry between humans, birds and machines, asking fundamental questions about consciousness, learning and understanding. The film is a contemporary reflection on the state of technology in relation to the natural world. It asks us to think about what we want from inter-species communication and what we expect from technologies that aspire to substitute for living beings.
Heliocentric uses timelapse photography and astronomical tracking to plot the sun's trajectory across a series of landscapes. The entire environment seems to pan past the camera whilst the sun stays in the center of each frame, enabling us to gauge the earth's rotation and orbit around the sun. As the sun's light becomes disrupted by passing weather conditions and the environment through which we encounter it, it audibly plays them as if it were a stylus.
A silent, moving poem, this video incorporates the “voices” of a wide variety of text sources into one scrolling script. The majority of the footage was shot through the window of a neighborhood salon that was showing a demonstrational video of their eyebrow threading services. Originally conceived for an exhibition at Cleopatra’s in Brooklyn, NY, this video is meant for a window in a storefront space, ideally viewed from the street in the context of other commercial moving images.
The earliest of Benglis's videoworks, Noise calls attention to the assemblage element of video by allowing the image to disintegrate into static between edits. Benglis also plays back several generations of image and soundtrack to introduce increasing amounts of distortion. Conversation is reduced to unintelligible noise, resulting in the disassociation of sound and image that to some extent characterizes her later work.
This title was in the original Castelli-Sonnabend video art collection.
Intertwining associated experiments in image and sound generation using AI, Nearest Neighbor focuses on language acquisition and mimicry between humans, birds and machines, asking fundamental questions about consciousness, learning and understanding. The film is a contemporary reflection on the state of technology in relation to the natural world. It asks us to think about what we want from inter-species communication and what we expect from technologies that aspire to substitute for living beings.
"Newly hand-built digital video A to D and D to A with ALU bit flipping. Controlled by an ELF II computer. The image brightness changes also controlled analog synthesizer parameters of the live flute playing. I sat in the camera image zone and played along with the programmed staccato picture and sound shifts. David Jones, digital video design."
– Peer Bode
Located on the Lofoten Islands in Northern Norway, Acoustic Ocean sets out to explore the sonic ecology of marine life. The scientist as an explorer and important mediator of the contemporary understanding of our planetary ecosystems is a central figure in this video. She makes her appearance in the person of a Sami (indigenous of northern Scandinavia) biologist-diver who is using all sorts of hydrophones, parabolic mics and recording devices. Her task is to sense the submarine space for acoustic and other biological forms of expression.
A re-working of Humphrey Jenning's 1943 seminal docu-drama The Silent Village wherein coal miners from the Welsh village of Cwmgiedd re-enact the Nazi invasion and annihilation of the resisting Czech villagers of Lidice. Principal focus in this re-mix is upon the way sound is used as a mode of social control.
The only time I’ve visited a communist country was when I went to Poland in 1980, not long after Margaret Thatcher’s Conservative government was first elected in Britain. I first visited the former East Germany in 1997, eight years after the fall of the Berlin Wall and a few months after Tony Blair's ‘New Labour’ government was elected. Recalling these experiences many years later, White Hole questions our imaginings of life in other places, times and political systems, mirroring its narrative through its form. London and Warsaw, 1980. London and Leipzig, 1997. Where now?
An absurdist demonstration of how the alphabet works.
Relying on the magic echo found in an old power Station in Norway, the artist whistles and marches to the Internationale, a May Day workers’ song.
This title is also available on Sympathetic Vibrations: The Videoworks of Paul Kos.
For 200 Nanowebbers, Semiconductor have created a molecular web that is generated by Double Adaptor's live soundtrack. Using custom-made scripting, the melodies and rhythms spawn a nano scale environment that shifts and contorts to the audios resonances. Layers of energetic hand drawn animations, play over the simplest of vector shapes that form atomic scale associations. As the landscape flickers into existence by the light of trapped electron particles, substructures begin to take shape and resemble crystalline substances.
In this well-known early tape, Jonas manipulates the grammar of the camera to create the sense of a grossly disturbed physical space. The space functions as a metaphor for the unstable identity of the costumed and masked female figure roaming the screen, negotiating the rolling barrier of the screen’s bottom edge.
Sara Magenheimer earned her MFA at Bard in 2013 and has since shown her work internationally in Canada, Iceland, the Czech Republic, and Denmark. Her cross-disciplinary practice plays with the juxtaposition between the form and content of language, exposing the absurdity of expected meanings.
A film about haircuts, clothes, and image/sound relationships.
"This four-minute film explores our response to stereotypes—aural, visual and ideological. Smith signals these stereotypes to the viewer through a chiefly associational system, which deftly manipulates the path of our expectations. The structure is stunningly simple and deceptively subtle. We are taken on a journey from one concrete stereotype to its diametric opposite, as images transform and juxtapose to, ultimately, invert our interpretation of what we see and hear."
—Gary Davis
The combination of a found site (an old power station in Norway), and a found object (a log) and a found instrument ( a wooden floor) produce a found sound in this acoustically alive action.
This title is also available on Sympathetic Vibrations: The Videoworks of Paul Kos.
