You can download the latest version of the program as a PDF here.(Updated January 17, 2007)

The full music and film program is also available below

Many thanks to the following generous supporters and to everyone that has written articles or talked about it at parties or on your radio shows!

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

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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.

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