SPRING is a four minutes and fifty-six seconds experiment with psycho-optics and psychoacoustics to produce a field of moving images and sounds starring Ho Chi Minh, Occupy Wall Street actions and Crocus.
Note: This title is intended by the artist to be viewed in High Definition. While DVD format is available to enable accessibility, VDB recommends presentation on Blu-ray or HD digital file.
CURRENCY is a sound-film of refusal—a woman wears bygone forms of currency on the tips of her hair while preserving the greatest currency for herself. CURRENCY explores the archive of embodiment through gesture and sonic transmissions, with sounds generated from articulations of the body itself.
A hypnosis-inducing pan-geographic shuttle built on brainwave-generating binaural beats, Deep Sleep takes us on a journey through the sound waves of Gaza to travel between different sights of modern ruin. Restricted from travel to Palestine, I learned auto-hypnosis for the purpose of bi-locating. What results is a journey, recorded on Super 8mm film, to the ruins of ancient civilizations embedded in modern civilization in ruins, to a site ruined beyond evidence of civilization.
"Blight was made in collaboration with composer Jocelyn Pook. It revolves around the building of the M11 Link Road in East London, which provoked a long and bitter campaign by local residents to protect their homes from demolition. Until 1994, when our houses were destroyed, both the composer and I lived on the route of this road. The images in the film are a selective record of some of the changes which occurred in the area over a two-year period, from the demolition of houses through to the start of motorway building work.
"how looking at what has become the skeletons of photographs is a visual lecture on aesthetic pleasure or emotion. and how being, almost entirely denied of this pleasure, or having the pleasure merely suggested induces a viewer to ruminate on the act of viewing and that of wanting to view. and maybe it is evolution which causes this anxiety and art form."
Paul and Veena, two disembodied computer voices, wonder what things mean and what means things. We travel with them to various imagined places in this visually spare video, meditating on the in-between places and negative space where meaning hides out. Their discourse is interrupted by non-verbal utterances and coughs, out of which Magenheimer’s voice sings Everybody’s Talkin’ by Fred Neil, then disappears again, sinking back into the digital sonic depths.
Immaterial Terrain is a film made by Emily Richardson along a seven-mile stretch of the UK coast between Sizewell nuclear power station and the mythic drowned city of Dunwich. Camera in hand, over the duration of a year Richardson repeatedly walked this coastline. These walks – pilgrimages and acts of protest – structure a film that documents a singular and fragile landscape at an uncertain moment. Plans to expand the nuclear power station at Sizewell will have a lasting impact on the environment.
If asked to say what this work is about in one word, the answer — which is woven into the electronic musique concrète soundtrack — would be a Joycean one: it’s a “collideorscape.” The imagery is a return to materials Rankus dealt with as a young man in the video Naked Doom (1983). He has recycled imagery such as cages, a toy robot, and brain convolutions; newer motifs include a winged ballerina, Victorian corsets, and alchemical vessels containing birds.
This is a tape which analyzes its own discourse and processes as it is being formulated. The language of Boomerang, and the relation between the description and what is being described, is not arbitrary. Language and image are being formed and revealed as they are organized.
This title is only available on Surveying the First Decade: Volume 1.
“In The Girl Chewing Gum a commanding voiceover appears to direct the action in a busy London street. As the instructions become more absurd and fantasized, we realize that the supposed director (not the shot) is fictional; he only describes—not prescribes—the events that take place before him. Smith embraced the ‘spectre of narrative’ (suppressed by structural film) to play word against picture and chance against order.
This compilation features 11 of Jem Cohen's collaborations with musicians. Made on 16mm, Super 8 and Video, the works include the music of R.E.M., Gil Shaham and the Orpheus Chamber Orchestra, Void, Elliot Smith, Jonathan Richman, Miracle Legion and Olivier Messiaen.
Nightswimming
A film about people trying really hard to listen and people hardly listening.
Twelve church bells are rung daily for 30 days in a sculptural setting at the Capp Street Project in San Francisco. Ringers progress from practice sessions on beer bottles to a full-scale ring.
This piece was shot using a combination of 3/4" U-matic video plus Hi8 video.
This title is also available on Sympathetic Vibrations: The Videoworks of Paul Kos.
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.
Transit journeys through the East End of London, quietly observing the shifting architectural and social landscape. Through the soundtrack the writer Iain Sinclair provides the pieces of a labyrinthine narrative by which the viewer can navigate these landscapes in transition.
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.
Rising 5th (Re-staging of a test for an unrealised memorial to Benjamin Britten) is a video work and sound installation that re-stages the story of the architect H. T. ‘Jim’ Cadbury-Brown’s unrealised memorial to Benjamin Britten. The memorial was to be a huge hulk of wood standing on Aldeburgh beach with two holes in the top designed to sound two signature notes from Britten’s opera, Peter Grimes, when the wind blew fiercely.
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.
