Monday, 8 January, 2007
| Wednesday, 17 January, 2007 | ||
| 6:33 pm |
EVENING at THE FACTORY
8:00 Manon-Liu Winter (Vienna) piano solo
8:45 Dale Gorfinkel, vibraphone
Peter Farrar, alto saxophone & microphones
Amanda Stewart, amplified voice
9:30 FOX/PATERAS DUO
Robin Fox (MELB), electronics
Anthony Pateras (MELB), voice, ems system
BREAK
10:15 FILM: MIST by Sakumi Hagiwara & RED SEA by Michael Maziere
live scores by:
Martin Brandlmayr (Vienna), drums
Jaime Fennelly (NYC) harmonium & electronics
Lawrence English (Bris) field recordings
Cor Fuhler (NL), prepared piano
Werner Dafeldecker (Vienna), double bass & electronics
11:45 DJ Olive, turntables
Martin Ng, turntables
BREAK
11:30 FILM: Tourbillon’ by VENTING GALLERY directed by Hart & Nylstoch
Live Score performed by SUN OF THE SEVENTH SISTER
END: soundwalk with Anthony Magan
Seeing Sound
The NOW now Film Program ’07 presented by Otherfilm
(Program 1) Wednesday 7pm – 8pm
Optical Sound (45 minute running time)
Images printed onto the optical track of the film so that they literally generate the soundtrack
Halftone
David Perry, Australia
Black and White, 1 minute, 1966
An exploration of the abstract graphic potential of newspaper photographs.
Musical Stairs
Guy Sherwin, UK
Black and White, 10 minutes, 1977
A series of progressions involving a set of metal steps. The soundtrack is the result of Sherwin’s experiments with optical sound developed from pictorial rendering.
Railings
Guy Sherwin, UK
Black and White, 7 minutes, 1977
A series of shots through some metal railings. The edge of the film frame also appears in some shots as a form of punctuation like the railings. As in other Sherwin films, the soundtrack is derived from sampling the sound that the image makes on the optical track, making use of the unique properties of sound reproduction on film.
Sound Track
Guy Sherwin, UK
Black and White, 8 minutes, 1977
A series of shots of parallel railroad tracks taken from the window of a moving train. The soundtrack is a rendering on the optical track of the visual image.
Dresden Dynamo
Lis Rhodes, UK
Color, 5 minutes, 1974
The result of experiments with the application of Letraset and Letratone onto clear film. Essentially about how graphic images create their own sound by extending into that area of film which is ‘read’ by optical sound equipment. The final print has been achieved through three, separate, consecutive printings from the original material, on a contact printer. Colour was added, with filters, on the final run. The film is not a sequential piece. It does not develop crescendos. It creates the illusion of spatial depth from essentially, flat, graphic, raw material.
Diagonal
William Raban, UK
Color, 6 minutes, 1973 (3 screen film)
“I was looking for a pure image, an image which was intrinsic to the medium of film. This film is not an abstract film; this film is ‘about’ the projector gate, the plane where the film frame is arrested in the projected light beam, and the frame whose edges contain and divide the projected illusion from the blacked-out present of the movie theatre.” - William Raban.
Synchromy
Norman McLaren, Canada
Color, 8 minutes, 1971
McLaren draws shapes that provide both the visual imagery and the soundtrack, so we literally hear what we see.
Live Soundtracks #1
Martin Brandlmayr (Vienna), drums
Jaime Fennelly (NYC) electronics
Lawrence English (Bris) field recordings
+
Mist
Sakumi Hagiwara, Japan
Black and White, 8 minutes,1972
An experimental film in which a fixed camera photographs a fog shrouded landscape, at first totally white but then gradually revealed. While the film bears a conscious relationship to Japanese sumi-e paintings, it also resembles the open lens of early Warhol films. The filmmaker intended no homage to the past.
+
Red Sea
Michael Maziere, UK
Color, 22 minutes, 1992
Images in slow motion processed through the optical printer, accompanied by elegiac music, form a subjective journey of self discovery. Urban landscapes, Mediterranean sea scapes, a sunken ship, fragments of the body and of newspapers form what the filmmaker calls “intense emotional territories of sensuality, pain and memory … a ghost dance set in the depths of an imaginary world