the NOW now » Festivals

The NOW now Festival Day#3: Wentworth Falls School of Arts

Sunday, 20 January, 2008
12:00 pm

12pm outdoor kids workshop – Wilson Park
ross bolleter - ruined piano and story-telling

2pm Outdoor Concert
sam dobson - double bass, sarangi, clock radios
peter farrar - saxophone
alex masso - percussion
simon ferenci - trumpet
yusuke akai - guitar

carolyn connors (melb) - voice
rosalind hall (melb) - prepared saxophone

Main Hall
6pm
mathieu werchowski - violin (fr)
dan whiting - laptop
xavier charles (fr) - clarinet

6.30pm Metalog
amanda stewart - voice
jim denley - flute & saxophone
ben byrne - laptop
natasha anderson (melb) - contrabass recorder & laptop
dale gorfinkel - vibraphone and deconstructions
robbie avenaim - percussion

7.15pm ora(ra)
matt earle - electronics
adam sussman - guitar & electronics
rory brown - double bass & guitar
rivka schembri - cello

8pm Joyce Hinterding - electronics

8.30pm Taste of Teeth (brisbane)
yusuke akai - guitar
jo jo dogshit - bass
daiji igarashi - guitar
michael lynn - bass
nik mayer-miller - percussion
scott mcconnachie - dx7
tim mcconnachie - percussion
sam mitchell - percussion
jack richardson - guitar

Tickets available through Moshtix

The NOW now Festival Day#2: Wentworth Falls School of Arts

Saturday, 19 January, 2008
12:00 pm

10am Sound Walk . CANCELLED/POSTPONED UNTIL FURTHER NOTICE

3pm workshop for kids (both young and old!!)
instrument building – Dale Gorfinkel & Rod Cooper

Small Room

6pm
Jo Truman – voice
Mike Majkowski - double bass

6.30pm
Ross Bolleter - ruined piano
Jon Rose - violin

Main Hall
7.30pm Brendan Walls - inventions, creations and monstrosities

break

Main Hall
8.30
Emmanuelle Pellegrini (france) - sound poetry

8.50
Philip samartzis (melb) - electronics
Marcia jane (melb) - live video

break

10pm Splinter Orchestra
shannon o’neill - moog synth and electronics, mike majkowski - double bass, abel cross - electric bass, finn ryan - percussion, milica stefanovic - electric bass, dan whiting - laptop, rod cooper - cooperisms, dale gorfinkel - vibraphone, monika brooks - accordian, jim denley - flutes, alex masso - percussion, clare cooper - guzheng, mira pert - violin, michael sheridan - guitar, ben byrne - laptop, grant arthur - souzaphone, laura altman - clarinet, simon ferenci - trumpet, karen booth - saxophone, cass mcglynn - euphonium, ian pieterse - baritone sax…plus more.

11 pm festival club at Akemi, spontaneous and unscheduled collaborations

Tickets available through Moshtix

The NOW now Festival night#1: Wentworth Falls School of Arts

Friday, 18 January, 2008
7:00 pm

Main Hall

7pm sci-hi - paul winstanley (nz) - electronics

7.30pm
greg kingston (tas) - guitar
carolyn connors (vic) - voice

8.15pm louise dibben - audio visuals

break

9.30pm
clare cooper (berlin) - chinese harp
thomas meadowcroft (berlin) - organ

10pm passenger of shit

11pm festival club at Akemi – spontaneous and unscheduled collaborations
feat. Sun of the Seventh Sister

Tickets available through Moshtix

night #2 of the NOW now festival

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.

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night #1 of the NOW now Festival

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

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night #4 the NOW now festival

Saturday, 20 January, 2007
6:37 pm

EVENING at THE FACTORY

8:00 Anthony Pateras, prepared piano
Clayton Thomas, double bass and objects
Tony Buck, drums & percussion

9:00 ABJECT LEADER
Joel Stern & Sally Golding

9:30 Jim Denley, woodwinds
Peter Blamey, electronics

BREAK

10:10 SLICES OF MY LIFE
John Blades, spoken word
Robbie Avenaim, sound and vision
Chris Abrahams, piano & dx7

10:45 FILM: BLACK IS, BLACK TV AND BLACK PLUS – X
by Aldo Tambelinni (USA)
Live score performed by: EMBERS (MELB)
Adam Simmons, saxophones
Kris Wanders, saxophones
Dave Brown, electric bass
Sean Baxter, drums

11:20 Autistic Daughters:
Werner Dafeldecker, guitar, bass and electronics
Martin Brandlmayr, drums
Dean Roberts, electronics and voice

BREAK

12:00 HAMMERIVER
play the transcendental skeleton of Alice Coltrane with video by Cicada
Clare Cooper, guzheng, harps and electronics
Monica Brooks, accordion
Jaime Fennelly (NYC) harmonium
Matt Earle, electronics
Scott Horscroft, electronic bells
Jeff Henderson, Richie Belkner & Lloyd Honeybrook, baritone saxophones
Karen Booth, alto saxophone
Chris Abrahams, Hammond organ
Clayton Thomas, double bass
Robbie Avenaim, percussion

Seeing Sound
The NOW now Film Program ’07 presented by Otherfilm

(Program 4): Saturday 6:15pm to 8pm
The Printed Signal (90 minute running time)

Passages from James Joyce’s Finnegans Wake
Mary Ellen Bute, USA
Black and White, 90 minutes, 1965
Bute’s experimental visuals are an attempt to come to terms with Joyce’s innovative language. His words are also displayed in subtitles giving the viewer an opportunity to separate Bute’s interpretation from Joyce’s language.

Live Soundtracks #4:

EMBERS (MELB)
Adam Simmons, saxophones
Kris Wanders, saxophones
Dave Brown, electric bass
Sean Baxter, drums
+
A selection from the rapid-fire montage films of American political filmmaker Aldo Tambellini;
Black Is, 4 minutes, 1966
Black Plus-X, 9 minutes, 1966
Black T.V, 9 minutes, 1970
Black Trip, 4 minutes, 1966
Blackout, 8 minutes, 1966
Moonblack, 13 minutes, 1968

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night #3 of the NOW now festival

Friday, 19 January, 2007
6:37 pm

EVENING at THE FACTORY

8:00 Adrian Klumpes, prepared piano
Milica Stefanovic, electric bass
Simon Barker, drums & percussion

8:45 Dean Roberts, laptop & guitar
Ben Byrne, laptop

9:13 Jon Rose & Hollis Taylor, bird whistles

9:15 Natasha Anderson, recorder
Amanda Stewart, voice
Louise Curham, handpainted 16mm film projections

BREAK

10:00 FILM: STUDIES IN CHRONOVISION & OTHERS by Louise Hock
Live score by:

Robyn Hayward (Berlin), microtonal tuba
Cass McGlynn, tenor horn
Simon Ferenci, trumpet

10:30 Jon Rose, violin
Manon-Liu Winter (Vienna), piano

11:00 Carolyn Connors (Melb), voice & banjo
Jeff Henderson (NZ), banjo, saxophones & voice
Robin Fox (Melb) live processing

BREAK

11:30 the splinter orchestra (international edition) with:
Robbie Avenaim, Martin Ng, Paul Taylor, Tony Buck, Anthea Caddy, Robin Fox, Natasha Anderson, Anthony Pateras, Carolyn Connors, Daniel Whiting, Monika Brooks, Abel Cross, Jim Denley, Peter Farrar, Lloyd Honeybrook, Ian Petersie, Clare Cooper, Matt Ottignon, Gerard Crewdson, Clayton Thomas, Ben Byrne, Shannon O’Niel, Simon Ferenci, Finn Ryan, Michael Sheridan, Chris Abrahams, Karen Booth, Martin Brandlmayr, Cass McGlynn, Dale Gorfinkel, Rory Brown, Mike Majkowski, Milica Stefanovic, Dave Brown, Dean Roberts, Werner Dafeldecker, Robin Hayward, Mamon-liu Winter, Cor Fuhler, Jaime Fennelly, Anthony Magen, Adam Sussmann, Matt Earle, Ryko, Lawrence English, Jeff Henderson, Alex Masso, Rod Cooper, Joel Stern

Seeing Sound
The NOW now Film Program ’07 presented by Otherfilm

(Program 3) Friday 6:15pm to 8pm
Trans-forms (89 minute running time)
A program exploring the transformative effect that sound has on our perception of visual spaces.

Hapax Legomena: Pt. 01 - Nostalgia
Hollis Frampton, USA
Black and White, 36 minutes, 1971
The first of seven parts in a serial film, each isolating a fundamental aspect of the ontology of cinema. The title, Hapax Legomena, is from classical philology and refers to words whose sense is ambiguous because they occur only once in surviving texts : their meaning can only be determined from context.of systematic displacements between language (the narration which is spoken by Michael Snow) and image, between flatness and depth, between stillness and motion.

The Girl Chewing Gum
John Smith, UK
Black and White, 12 minutes, 1976
Representation and description turn into phantasm through the determining power of language.

Charlemagne 2: Piltzer
Pip Chodorov, France
Color, 22 minutes, 2002
“On December 9, 1998, Charlemagne asked me to bring friends to his piano concert at an opening at the Gerard Piltzer gallery in Paris, and to bring a movie camera.” (To create the finished film, and) “following a precise notation of the concert music, I chose the following principles: the 6945 notes played in the concert correspond to 6923 frames of super-8 film that were shot; speed of playing controls speed of frame succession; flicker between negative and positive, between opposites on color wheel (blue/yellow), between opposites in retinal cone sensitivities (red/green), left/right screen masking and mirror image printing, crossfading between negative and positive images; When more than two notes are played, the additional colors correspond to the complexity of sound frequencies. The final result is at once a diary film, a document of the concert, a structural flicker film, a hand-processed film, a graphic representation of music, and an attempt to apply cognitive principles in sensation and perception to film art.”

Spit-Optik
Roxlee, Philippines
B&W and Color, 14 min, 1988-1990
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Mix 1 and 2
Roxlee, Philippines
B&W and Color, 5 min, 1988-1990

Visions of daily life in Manila are overlaid with translucent layers suggesting origin myths, sexual psychosis, post-colonial anxiety and more. These multiple experimental animations are matched with instant sound compositions featuring the filmmaker’s improvised songs. Naive, energetic and slightly deranged.

Live Soundtracks #3

Robyn Hayward (Berlin), microtonal tuba
Cass McGlynn, tenor horn
Simon Ferenci, trumpet
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Studies in Chronovision
Louis Hock, Australia
Color, 7 minutes, 1975
+
Light Traps
Louis Hock, Australia
Color, 21 minutes, 1975
Slow moving radiating colours examining changes according to quality of light through time lapse.

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