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What triggers my curiosity and desire to film has often to do with patterns of movement that fascinate me. They make daily life situations remarkable and exciting. They express a specific vitality that moves me. I pick up these found rhythms, I observe them I play with them and alter them. When I pick up my viewfinder I see images, fragments of reality in a more intense way. I see more accurately what might seem obvious and familiar. When I look at things with greater care or they look at me and I experience them as if they were new and free from predefined signification. In a way that frees my perception of preset expectations. The invisible touches the visible. The devotion to the subject, the forgetting of myself join up with the devotion to my own awareness and emotion, creating an amplified consciousness. The intensity of experiencing the moment is certainly also influenced by all kinds of reminiscences and associations. At the same time, I have to work out the appropriate cinematic form.
For me making films means making time or shaping time. I use film as a means of structuring, relativizing and alienating the perception of time. The viewers experience of time undergoes change, becomes more intense and more conscious. -Helga Fanderl from an interview with Andrew Bergmeier.
nodus knot, node - more at NET) ... 4a: a point at which subsidiary parts originate or center ... 5: a point, line, or surface of a vibrating body that is free or relatively free from vibratory motion. In the tradition of Skein this hand-painted film is the equivalent of cathexis concepts given me by Sigmund Freud (in his "Interpretation of Dreams"), 30 years ago, finally realizing itself as vision. (Quote: Web. 7th) – Stan Brakhage
“A lyrical-imagistic cinepoem dedicated to my own psychosomatic myopia and the epiphanies of everyday vision.”- Greg Sharits
"The late Greg Sharits is another filmmaker whose work deserves to be more widely recognized than it has been. The younger brother of Paul Sharits, Greg Sharits died violently in 1980 and is the second subject of the Collective's Not Forgotten series .... Those films of Sharits that I've seen fall into two categories. Some are home movies whose surfaces have been overlaid with all manner of stenciled patterns, creating jumbles of letters, crude wipes, and strobelike flickers. Transfer is the most complex and varied of these, but Sharits' other genre - street films identified only by numbers - are even more impressive. Although hardly documentaries, these percussive, edited-in-camera compositions, superimposing the neon lights and illuminated storefronts of downtown San Francisco with uncanny geometric precision, could only have been shot off-the-cuff with an inconspicuous small-format camera. At once lyrical and rigorous, these meticulously crafted city symphonies are among the most ecstatic avant-garde films I've seen since I began covering the beat ...." - J. Hoberman, The Village Voice
Turbulant Blue, found footage salvage 35mm split to 16mm scrap. The
gauge is off, running through a 16mm projector causing a mis-registration. As well the image itself falls on what would be the
optical track so that the image reads as sound. Part of a series of
what I call URF 16 films... the footage was extracted from a Charles
Bronson film... but I cut him out all together... although, I had to keep one quick shot... Category: Action Adventure... - Luther Price
Taken as it was found -the splash and splatter of a 16mm reduction sauce- a 35mm feature cut down to size in the printing. The generic overactive narrative is motored by a turbulent lisp granting new visual accents. Traces of acetylene and explosive blue sparks remain. - Mark McElhatten
Like picking shards of broken glass out of pile carpet on a hangover morning. - Fred Worden
What at one minute would be unfathomable and at a sixty minutes a strident provocation, is at 6 minutes still gnomic yet rich and involving. A freeze frame might suggest a detail from a Kenneth Noland or Robert Motherwell painting. In motion we see something more sculptural a wobulated Oldenberg or Koons, if you can read between the eyes.
A belated homage to pop art or pop music ? A tribute to Richie Valens? Hardly. Some strange mojo. The motion and the sound indicates an odd territory where even mundane amusement hits a dead end. Like discarded wrappers left behind when the treats have melted. As with a migraine or bad acid we are at the mercy of our receptors picking up static or worse, a bad signal to noise ratio in the perceptual field. Where everyday comments or stimulus that should be fleeting are caught on our screen. Things that should fade out to oblivion become insistent and domineering, forming some weird Congee- a Chinese Porridge in the mind. On any given day this is a place always too conveniently located nearby but meant to be sidestepped. A sandtrap. A glitch. The concave depression of a failed epiphany given amplitude. Has anyone ever tried to represent this before in its proper proportion and to the betterment of an art? – Mark McElhatten
The dead of winter and all that has fallen will fall. Pass the wind and skies the shudder of the trees and turn your own eyes in. Part two in a series of films dealing with naturally derived psychedelia. - Ben Russell
Candy-apple light emissions create a series of stimuli that tickle the retinas a playful pulsation of mis-registered images made when a lab accidentally split the film from 16mm to Regular 8. Kodachrome color fields create tremulous vibrations, which hypnotize with their flickering beauty. - Kerry Laitala
Light Work I uses HD to document a direct-on-16mm-film in the making and fuses the process with the result (based on Light Work Mood Disorder, a live multiple projection film and music performance by Reeves and Burr). Symbols of science, industry, medicine and madness are mixed in colorful rhythmic molecular forms, morphing frequencies and visual textures. Found images from 20th century educational films are sewn together with melted down pharmaceuticals affixed directly to the film, forming a concentrated fusion with pulsating electronic sounds, bass clarinet and organ. The video renders the convergence of century-old physical direct-on-film work with the latest high-definition format "destined to render film obsolete". Formats compete for dominance and resolve to coexist, perhaps in a fantasy world
The images for this project were first obtained by enlarging, with an optical printer, frames of evenly distributed grain particles from a black and white strip of underexposed 8mm Tri-X film. The resulting 16mm black and white Plus-X copy was again blown up with an optical printer to make a negative on high contrast stock. In the final stage, using an optical printer, color gels were employed to code each of the up-to-six layers of superimposed images of grain fields; this was recorded on fine grain Ektachrome Commercial color stock. What began as dark grain particles in relatively clear (light toned) emulsion, in the 8mm specimen, at the last stage, have become colored images of grain particles in a dark field.
What I am proposing in this project is that even at the infrastructural level -- and contrary to its intended purposes -- the bases of film's illusionistic movement can be discerned. One might hypothesize that film is, in this respect, thoroughly illusional, on all levels from its most obvious recorded-image plateaus to its most primary image-forming depths. - Paul Sharits
A site specific performance for three 16mm and two 35mm projectors.
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SUN Oct 8: 8:30
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