Wednesday, 17 January, 2007
| Thursday, 18 January, 2007 | ||
| 6:37 pm |
EVENING at THE FACTORY
8:00 Ben Byrne, laptop
Robyn Hayward (Berlin), microtonal tuba
Monika Brooks, accordion
8:45 CANDLESNUFFER
Dave Brown, solo guitar, tapes and electronics
9:20 QUARANTINE
Peter Farrar, alto saxophone, c-melody saxophone
Kris Wanders, tenor saxophone
Gerard Crewdson, trombone
Rod Cooper, Ibis and handmade trombone
Rory Brown, basses and electronics
Alex Masso, drums
BREAK
10:00 Cor Fuhler, prepared piano
Brendan Walls, anything and everything
Dale Gorfinkel, vibes and engines
Robbie Avenaim, drums
10:30 FILM: Acupuncture Series
Live score by Anthea Caddy (Melb) cello
10:50 THE PURE EVIL TRIO +
Jeff Henderson, alto saxophone, vocals, baritone saxophone
Lloyd Honeybrook, alto saxophone, vocals
BREAK
11:30 Tony Buck, percussion
Thembi Soddell, electronics
Please Note: PURSUIT, A concerto for bicycle powered instruments conceived and performed by Jon Rose has been postponed for a later date. We are very sorry about this change and hope you are not upset.
END: Sound walk with Anthony Magen
Live Action: DJ Manimanimar presents the Hits of Haitian Vodou
Seeing Sound
THe NOW now Film Program ‘07 presented by Otherfilm
(Program 2) Thursday 6:30pm – 8pm
Rear Vision (69 minute running time)
A peek into the past; a look at some of the great achievements by artists working at the juncture of experimental film and sound, who all tackle the question “What is the relation between sound and image?”
Weekend
Walter Ruttmann, Germany
Black, 11mins, 1930
Ruttmann’s brief audiomontage, recorded 1930, remains one of the most outstanding experiments in sound ever made. The story of a weekend in Berlin, presented on imageless film: a symphony of sound, speech-fragments and silence, perfected by cutting and mixing. A purely acoustical film.
Diagonal Symphony
Viking Eggeling, Sweden
Black and White, 5 minutes, 1921
Eggeling, working initially in collaboration with Hans Richter, developed a notion of counterpoint of linear elements. Graphic notions were developed sequentially and related to each other in a vertical form or scroll. Eggeling then used film to give the scrolls kinetic form. In Diagonal Symphony ‘the emphasis is on objectively analysed movement rather than expressiveness, on the specific patterning of lines into clearly defined movements controlled by mechanical, almost metronomic tempo’.
Color Rhapsodie (Seeing Sound)
Mary Ellen Bute
Color, 7 minutes, 1955
Abstract animation using pioneering electronic imagery. One of a series of films utilizing filmed oscilloscope generated images to Liszt’s Hungarian Rhapsody no. 2.
Mood Contrasts (Seeing Sound)
Mary Ellen Bute
Color, 8 minutes, 1954
Abstract animation utilizing filmed oscilloscope generated images superimposed through colour filters and compared in counterpoint to the soundtrack of Rimsky-Korsakov’s “Hymn to the Sun” and “Dance of the Tumblers”.
Polka Graph (Seeing Sound)
Mary Ellen Bute
Color, 5 minutes, 1952
An animated film utilizing electronic images, filmed oscilloscope patterns superimposed through colour filters and composed in counterpoint to music (Shostakovich’s Polka from the Age of Gold). Received an award at the Venice Film Festival.
Spook Sport (Seeing Sound)
Mary Ellen Bute
Color, 9 minutes, 1956
One of a series of animated films concerned with movement of abstract shapes to musical accompaniment, in this case to Saint-Saen’s “Danse Macabre”. The actual animation work was done by Norman McLaren.
Free Radicals
Len Lye, New Zealand
Black and White, 4 minutes, 1979
A primitive dance of white lines and angles meticulously scratched onto black and white film over an 8 month period, then edited and retrospectively matched with an African field tape of the Bagirmi tribe. Jumping, darting, dancing kinetic lines with an irresistible soundtrack - a synaesthetic masterpiece!
Straight and Narrow
Tony and Beverley Conrad, USA
Black and White, 10 minutes, 1970
Rapid, flickering alterations of vertical and horizontal lines create a hallucinogenic effect. Experimental sound (and film) pioneer Tony Conrad’s follow-up work to his (in)famous 1965 film The Flicker.
Outer Space
Peter Tscherkassky, Austria
Black and White, 10 minutes, 1999
In this film, prolific Austrian avant-garde filmmaker and theorist, Peter Tscherkassky reinvents a 1981 Barbara Hershey horror vehicle, leaving the original’s crystalline surface intact only to violently shatter its narrative illusion. Sounds of crickets, static and distorted music give way to explosions, screams, and garbled voices. The actress’s face multiplies across the screen as the frame is invaded by sprocket holes, an optical soundtrack, and flashes of solarized imagery.
Live Soundtracks #2
Anthea Caddy (Melb) cello
+
A selection of films demonstrating the art and technique of acupuncture shown on multiple 16mm projectors.