8 de enero de 2018

Querido Alberto:

Querido Alberto: es el título de una nueva pieza documental que reproduce la lectura de cuarenta y ocho postales de finales de los años cincuenta. El video es un ensayo con rasgos autobiográficos que se inicia con el siguiente texto:

Entre 1958 y 1960, mientras residía lejos del hogar, mi abuelo Albert Viñas i Camps envió decenas de postales a su hijo Alberto Viñas i Barceló. Su puesto como militar en el Sahara español, Las Palmas de Gran Canaria y otros lugares alejados del seno familiar –en Barcelona– implicaba una relación paternal condicionada por el intercambio epistolar. Casi sesenta años después, la lectura de las postales por mi padre Alberto revela aspectos educacionales donde la memoria personal queda atravesada por un contexto histórico desplegado caligráfica y fotográficamente.

Tras estas indicaciones empieza un trabajo de treinta y tres minutos de duración que implica muchas otras cuestiones contextuales. Albert Viñas i Camps fue comandante de infantería de marina. A partir de 1958 estuvo viviendo en El Aaiún, Las Palmas de Gran Canaria, Cádiz y Sevilla mientras su mujer, Rosa Barceló i Altimira, cuidaba de sus seis hijos en Barcelona. Entre ellos había mi padre, Alberto Viñas i Barceló, que por aquél entonces tenía ocho años. Las contadas visitas a la Ciudad Condal quedaban remediadas por el envío de decenas de postales a cada uno de los hijos. Las postales que recibió mi padre incluyen fotografías paisajísticas y escenas rurales de los sitios en los que residió su progenitor. También revelan, textualmente, el tipo de educación que transmitía a su hijo.

A finales de 2017 decidí escanear todas las postales por delante y por detrás. Pocos días después sugerí a mi padre que leyera todas y cada una de ellas. Hacía casi sesenta años que no las leía. Registré con una cinta de casete su voz mientras recitaba lo que le escribió su padre, fallecido en el ya lejano 1987. A lo largo de la lectura hubo dos pausas. Una fue resultado de un inconveniente técnico: la cinta magnética utilizada tan solo dura veinte y tres minutos por cada cara. La otra detención vino propiciada por la emotividad de los recuerdos.

La duración del montaje de imágenes viene determinado por el registro sonoro. Un mínimo de intervenciones en la pista de audio evitan escuchar pausas excesivamente extensas o momentos dubitativos propiciados por la dificultad en el reconocimiento caligráfico. Los tiempos de lectura de cada postal condicionan su presentación en imágenes. Fundidos encadenados desvelan el reverso visual de unos textos escritos que, a menudo, anuncian la fotografía opuesta. La rigurosidad en el estudio y la mejora en la escritura son dos de las constantes de unos escritos que desvelan la idiosincrasia de una educación transmitida a distancia. En este enlace se puede visionar un extracto.

29 de diciembre de 2017

Listening to the Space #02: Deborah S. Phillips

Slide collage (2017)

Listening to the Space is the title of a new series of collaborations with different filmmakers, concerning the ideas and practices around the sound of theirs films. The header of this section makes reference to a film by Robert Beavers named Listening to the Space in My Room (2003) where the sound recording is entirely relevant. The second post is written by Deborah S. Phillips.

The German artist and filmmaker Deborah S. Phillips has been working on celluloid since the early nineties. Her work includes a diversity of visual disciplines and media including collage, film slides, 35 and 16 mm film, drawing, handmade books, etc. She was a member of the artists collective Laboratorium between 1988 and 2001. In 2007 she co-founded the gallery Kunstverein Neukölln in Berlin, an art space where there have been, inoccasionaly film screenings and film performances for international artists. Her films are created mainly on 16 mm but in 2001 she finished a major work named Mosaïc filmed on  35 mm which has been screened widely. Among her greatest interests are the performances dealing with film and slide projectors as aesthetic tools. "I looked for films in which colors, textures, light ant time were more important than people and stories" has said this artist whose films have been presented on festivals like the Toronto International Film Festival and the Fajr International Festival in Teheran as well as film centers like the Anthology Film Archives in New York.

Some of her films can be rented through different distribution centers as Arsenal and Lightcone, based on Berlin and Paris respectively. To follow her slides and visual creations visit her website. There are preview digital files online to watch and hear the collage sounds of the films 71 (2005) and Capsicum (2008).

Untitled Colourmation (1992)

Deborah S. Phillips:

My approach to sound and film.

As a visual artist, a reason to work with film, besides the joy of the luminosity inherent in the material, is also to work with others (musicians, composers).

Film is only one of the media I work with, but it is one of the best ways to work with other people. Have been lucky to deal people who also make sounds, who relish reacting to pictures and improvising: this was the case in my first film, Untitled Colourmation (1992). I was part of a collective and a new guy moved in, the painter and musician Wolfgang in der Wiesche. When he saw the painted animation I'd made for my first film (after helping other members of the group on their 16 mm films for a couple of years), his enthusiasm for the images resulted in asking him to improvise music that would fit and we ended up collaborating on a number of films. I had imagined piano sounds going up and down like the images and he was able to make that happen.

When I work with people who make sounds, they are usually those who make visual works too. Suppose that's because I have specific ideas and make sounds and gestures to express what I mean and those people can develop on that.

Santoor (1997-98)

Having organised a program of Indian films for a film festival, I had the honor of working with a santoor player who accompanied a 1920s German-Indian silent co-production, Nandkishor Muley. We stayed in touch and he often asked if I would make a film about him. After a few years of deliberating whether I could, Santoor (1997-98) resulted, which became a musical collaboration between my two musical friends, Wolfgang and Nandu. The latter was also trained as a dancer and gestures as sounds make sense to him. Some of the santoor sounds were already recorded and Wolfgang re-worked/sampled some of them, while he also came up with passages between the chapters of the film.

A few years later, when I was working on Mosaïc (2001) and talking with Wolfgang about what work well with the images, he had the idea to work with a singer he'd heard but never met, Saadet Türköz. I selected sequences of almost finished film for her to view before retreating to record with Wolfgang, who then sampled other sounds and combined them with her singing to an effect that is thrilling each time I hear it.

Mosaïc (2001)

Sometimes, I make projects in which an idea is crucial not just the sum of pictures and I want that idea to reach audiences (this is not always the case for me) . To do this, sound/words to provide a context to or juxtapose with the image. The best example of this is how Geographie (2000) came about. After listening to Americans express their distaste for the German language, I decided to make a sound collage of three voices dealing with notions of Jewish identity: in German (me) Turkish and Russian (spoken by two friends), three languages with long and complicated histories. I then thought about different sorts of maps as a suitable kind of images for the sound. After speaking with a colleague about how he attained interesting textures through the use of mouldy quark (a soft German cheese, like fromage blanc) I put strips of leader in and let it eat away at the emulsion for just over a month (until it really really stunk) and then, multiple exposed maps copied on to transparencies together with these textures, creating both acoustical and visual imaginary geographies.

For my two films about colour research (into red and then green), Capsicum (2008) and then later Im Grünen Bereich (2015-17), sayings and associations with each colour were important on an idea-level. After having realized an installation with Ruth Wiesenfeld, who had been a neighbour for a while, who had made several musical compositions focussing on colours, it seemed logical to discuss the project with her. In the end, she realized musique concréte and word collages for each film, while Wolfgang came up with what can be perceived as being closer to music. Through sketches and discussions featuring a lot of gesturing, sound resulted that accompanies the images without being too close to what you see.

In Grünen Bereich (2015-17)

As someone who has, on and off over the years, realized performative works and then organizing live accompaniment of silent films, it was a long term idea to make a film that would have live, performative sound. So when I had printed using lead type on 35 mm leader, A Printed Film (1994), it seemed logical to perform live sounds for it myself.

Years later, following a discussion at a film festival about how people everywhere enjoying clinking glasses that led me to make Chin-Chin (2013-14), it was clear that that should also be the sound. At first, I was unsure about whether that should be recorded and used as a soundtrack or live: since I started having it as a performative piece involving the audience and breaking the ice, I see the potential for more works using live sound and involving those in the space, as I often do in performances, making them more film happenings in a way.

I print films, use the material for slide collages together with dried ink and paint and I am now thinking about how I could copy textures like that on to an optical soundtrack... The possibilities of combining materials with analogue media including film are very diverse and I hope to explore more of them in the future.

Capsicum (2008)

15 de diciembre de 2017

Películas de "Resonancias fílmicas"

Moment (1972) Bill Brand

Los principales títulos analizados en el libro Resonancias fílmicas. El sonido en el cine estructural (1960-1981) pueden encontrase online o en ediciones en DVD para su visionado y estudio. Más allá de las proyecciones fílmicas en sus soportes originales sucedidas en cines y centros de arte, las películas investigadas en el libro pueden hallarse en internet mediante algunos vínculos o pueden adquirirse en formato DVD a través de las editoriales especializadas en este cine diferente. Lo que sigue a continuación es un listado de films con sus respectivos enlaces a distribuidoras como LUX, Light Cone o el British Film Institute o sellos de experimentación fílmica como Index, Re-Voir, Red Avocado o Angular. Algunos de estos enlaces se limitan a aportar información relativa a las piezas sin opción de visionarlas online. Otros ofrecen extractos. Se trata de una lista que refleja la tensión entre el deseo de los cineastas por acercar su cine a un público más amplio y el rechazo a unos formatos digitales cuyas condiciones de reproducción en ámbitos privados distan muchas de las particularidades de las proyecciones en 16 mm, el formato fílmico con el que se hicieron todas las películas aquí mencionadas. Las imágenes que ilustran esta entrada son diagramas, pruebas preparativas, dibujos y esquemas que revelan la inquietud por el tratamiento sonoro de un cine estructural atraído por lo contingente del medio cinematográfico.

Kurt Kren: Bäume im Herbst (1960)
DVD (Index)
Steve Farrer: Ten Drawings (1976)
Guy Sherwin: Musical Stairs (1977)

Hollis Frampton: Critical Mass (1971)
DVD (Criterion Collection)
DVD (Re-voir)
Morgan Fisher: Picture and Sound Rushes (1973)

J. J. Murphy: Print Generation (1970-74)
Bill Brand: Moment (1972)
Larry Gottheim: Four Shadows (1978)

William Raban y Chris Welsby: River Yar (1971)
DVD (British Film Institute)
Paul Winkler: Bondi (1979)
DVD (Red Avocado Film)
Chris Gallagher: Seeing In the Rain (1981)
DVD (Angular)

Morgan Fisher, Projection Instructions (1976)

Print Generation (1970-74) J. J. Murphy
Picture and Sound Rushes (1973) Morgan Fisher
S:S:S:S:S:S:S (1971) Paul Sharits
River Yar (1971) William Raban y Chris Welsby
Ten Drawings (1976) Steve Farrer

10 de diciembre de 2017

CRANC a La Volta

I Had Been Sedulous to Take Note of Shadows (2017) Daniel Pitarch

El sábado 16 los directores del proyecto CRANC presentarán una selección de piezas en la Cúpula de La Volta de Girona, donde también se venderán los flipbooks de las diferentes sesiones. CRANC es un ciclo de proyecciones de cine y vídeo experimental que tienen lugar en la imprenta L'Automàtica del barrio de Gràcia de Barcelona. Desde mayo de 2016 mostramos el trabajo de realizadores, cineastas, videocreadores i artistas que investigan las posibilidades me los medios fílmicos y videográficos para reflexionar sobre aquello que les rodea. Blanca Rego, Dostopos, Daniel Jacoby, David Domingo, Félix Pérez-Hita, David Epiney, Lluís de Sola, Laura Ginès, Los Ganglios, Dedo Ciego y Mireia Sallarès han sido todos los participantes de una sesiones con debates posteriores que se complementan con la producción de unos flipbooks de edición limitada. Este proyecto de exhibición audiovisual está formado por Daniel Pitarch, Marcel Pié, Pepon Meneses y Albert Alcoz. Cada uno de ellos ha seleccionado una pieza audiovisual propia para formar un programa ecléctico a disfrutar dentro de la cúpula geodésica de La Volta


I Had Been Sedulous to Take Note of Shadows (2017) Daniel Pitarch. 9 min.
Un viaje por el latido de las vistas estereoscópicas del s. XIX y por el eco de las palabras de Walt Whitman.

La 72.024 mil·lèsima part d'un any (2008) Marcel Pié. 5 min.
Un proyecto de animación experimental centrado en la búsqueda de nuevos métodos de producción y formalización del discurso narrativo con el objetivo de encontrar formas de animar más habituadas a lo imprevisto y a los condicionantes del día a día. Con esta intención de establece una estrategia a seguir: Realizar una animación diaria de 15 fotogramas durante 365 días.

Meant to Go Viral (2017) Pepon Meneses. 5 min.
Una recopilación de las micropelículas que alimentan las redes sociales de Pepon Meneses, pensadas con el objetivo nunca resuelto de convertirse en fenómenos virales que debían dar la vuelta al mundo.

Espectro cromático (2015) Albert Alcoz. 3 min.
Un film que muestra las idas y venidas de personas en un paseo marítimo. Múltiples exposiciones y filtros de colores transforman las figuras humanas en presencias fantasmagóricas de tonalidades cromáticas variables.

La 72.024 mil·lèsima part d'un any (2008) Marcel Pié
Meant to Go Viral (2017) Pepon Meneses
Espectro cromático (2015) Albert Alcoz

6 de diciembre de 2017

Independent Eye

Independent Eye fue una publicación dirigida por el cineasta y escritor Mike Hoolbloom que empezó su recorrido a finales de 1988 y lo concluyó en el otoño de 1991. A lo largo de estos pocos años el realizador canadiense culminó la edición de cinco números –a los que se sumaron cuatro más posteriores– que se pueden descargar en formato PDF en su propia página web. Mientras trabajaba en el Canadian Filmmakers Distribution Centre, Hoolbloom recopiló materiales fílmicos de naturaleza diversa y contó con la colaboración de artistas, teóricos e historiadores del cine menos acomodaticio que sumaron sus perspectivas en una publicación impresa del todo recomendable. Peter Rose, Stan Brakhage, Al Razutis, Su Friedrich y Barbara Hammer son algunos de los muchos cineastas que participaron en una revista que dedicó un monográfico al cine de la República Federal de Alemania en verano de 1990 y otro al papel de la exhibición fílmica en las diferentes ciudades de Canadá. El gran logro de Independent Eye no fue solo analizar la actualidad del cine experimental de ese periodo histórico sino también el hecho de romper estereotipos estéticos e ideológicos atribuidos al cine de vanguardia. El papel activo de escritoras y académicas a lo largo de todos los números, así como la voluntad por incluir cines marginales de regiones escasamente representadas y prácticas videográficas infravaloradas en los circuitos de la experimentación audiovisual de trasfondo artístico, así lo indican.

20 de noviembre de 2017

CRANC #11: Mireia Sallarès

Mireia Sallarès (Barcelona, 1973) es artista y realizadora independiente de documentales, vive y trabaja entre Barcelona, Méjico DF y otras ciudades extranjeras donde desarrolla sus proyectos de investigación artística. La condición de extranjería es un registro indispensable en su trabajo. La sesión que ha preparado para CRANC incluye una revisión de la obra realizada en los inicios de su trayectoria entre el 2001 y el 2003 en Nueva York, un conjunto inédito de filmaciones en 16 mm y el visionado de una de sus primeras piezas, Mi visado de Modelo. A modo de crónica de aquello descartado como obra pero vivido con intensidad, revisitaremos los inicios de la trayectoria artística de Mireia Sallarès para descubrir unas inquietudes plenamente vigentes que la vinculan con su obra actual.

Viernes 24 de noviembre a las 20:30h
Proyección con la presencia de la artista

Mi visado de modelo (2005) 16 min.
Living without T (2002) 32 min. Filmaciones inéditas en 16 mm.

Evento en Facebook

17 de noviembre de 2017

Festival Panoràmic Granollers – La noche inventada

Blanca Viñas

Entre el 21 y el 26 de noviembre se celebra la primera edición del Panoràmic, un festival que estudia la relación entre la fotografía y el cine en la localidad de Granollers. Los diversos espacios de Roca Umbert, Fábrica de les Arts, y la sala fílmica de la Assiciació Cultural – Cineclub de Granollers son los lugares donde sucederán las diferentes exposiciones y las proyecciones. Esta propuesta artística de Albert Gusi y Fidel Balaguer cuenta con el asesoramiento de diversos especialistas en prácticas artísticas contemporáneas como son Joan Fontcuberta, Jesús Vilamajó, Joana Hurtado, Fèlix Pérez-Hita, Andrés Hispano y Laia Casanova. Entre la amplia programación destacamos la exposición Mites i màscares. L'univers creatiu d'Albert Serra a través de les fotografies de Román Yñán; una selección de cortometrajes experimentales que parten del uso de la imagen estática a cargo de cineastas como Eugènia Balcells, Chris Marker, Eugeni Bonet, Harun Farocki, Martin Arnold o Virgil Widrich; y una jornada de proyecciones de documentales bajo el enunciado La Porxada Doc. La exposición colectiva La Térmica LAB es uno de los reclamos principales por la búsqueda estética y narrativa de las piezas de los diferentes artistas participantes. Daniel Pitarch, María Sánchez, Beatriz Ruibal, Alberto Valverde, Miquel Martí y Joan Tisminetzky son algunos de los creadores que incluirán obra reciente. En esta muestra Blanca Viñas y un servidor mostraremos un versión expositiva del work in progress La noche inventada. Esta contará con una selección de fotografías, un desplegable hecho de fotogramas y un film en super 8 de 12 min. mostrado en loop, en formato digital.

La noche inventada es un proyecto transversal que vincula la fotografía y el cine bajo parámetros fotoquímicos. La fotógrafa Blanca Viñas y el cineasta Albert Alcoz son dos artistas visuales que, a la hora de reflexionar sobre estas dos disciplinas, registran escenarios exteriores del ámbito urbano, enfatizando las propiedades analógicos del medio. Revelar las consideraciones matéricas de los soportes escogidos –carretes de 35 mm, carretes de super 8– es uno de los puntos de partida de un conjunto de paseos por los escenarios de la infancia y la juventud –el barrio de la Vall d'Hebron de Barcelona–. La filmación en blanco y negro documenta una práctica fotográfica en color caracterizada por la ruptura respecto a la noción de objetividad. El uso de múltiples exposiciones i otras técnicas experimentales demuestran la voluntad lúdica de unas imágenes que, a través de la multiplicidad de puntos de vista, sugieren aquello inefable de la memoria personal.

Blanca Viñas

10 de noviembre de 2017

Listening to the Space #01: Peter Rose

The Man Who Could Not See Far Enough (1981) Peter Rose

Listening to the Space is the title of a new series of collaborations with different filmmakers, concerning the ideas and practices around the sound of theirs films. The header of this section makes reference to a film by Robert Beavers named Listening to the Space in My Room (2003) where the sound recording is entirely relevant.

The North American filmmaker Peter Rose is the first who has decided to exchange thoughts about the process of creating and arranging the soundtracks of some of his pieces, in this case two of his most known films: Analogies: Studies in the Movement of Time (1977) and The Man Who Could Not See Far Enough (1981). Since 1968 this artist has been creating over thirty moving pictures, videos, installations and performances. To deal with the idiosyncrasies of time, space and light –through sound and moving images– has been one of the major themes of works that also include mathematics and language issues, as well as oblique strategies and structural film inspirations. His intellectual point of view and sarcastic humor make him one of the great filmmakers of avant-garde cinema. Since today he has been able to produce a rich body of work on video, a medium he continues to investigate through pieces like 6D for Google (cardboard) Glasses (2016).

The french label Re-Voir released a DVD compilation of some of his films under the title Analogies. His vimeo channel is an awesome resource of digital versions of incredible conceptual procedures and formal solutions, deeply stimulating for the viewer and the listener.

Analogies: Studies in the Movement of Time (1977) Peter Rose

Peter Rose:

I’ll offer some general thoughts about the thinking behind, the genesis of Analogies: Studies in the Movement of Time (1977) and The Man Who Could Not See Far Enough (1981).

I’ve always been impressed by music as a model for organizing events in time and my first films were efforts to try to embody musical thinking in the structure of the work. Incantation (1970), for example, plays with a complex form of rhythmic polyphony and was inspired by both my own experience as a hand-drummer and by elements of Baroque music, Bach in particular. I found, however, that there were limits to the approach –there were only so many levels of superimposition that might be readable, and so settled on a kind of visual canon, juxtaposition rather than fusion, as an organizational solution–. This required the invention and construction of an insanely complicated optical printer that allowed me to integrate images in a more controlled way, and Analogies (1977) was a second attempt to try to understand the laws of this new format. The first attempt was shot in 8mm and ended up in a film called Studies in Diachronic Motion (1975). (This was all inspired, too, it must be said, by a vision I had while on my first LSD trip in 1965 during which I observed a Japanese couple making love in the thousands of tiny spaces between the weaves of a napkin; their motions were displaced in time and I was transfixed by the whole experience, vowing to try to find a way to capture the experience. Ten years later I was able to do this…)

It seemed logical, in this context, to turn to musical form for the sound as well, and to try to echo the rhythmic understructure of the image with a similar configuration of sounds. I had been much impressed by a series of lectures presented by Slavko Vorkapich at the Museum of Modern Art in New York City in the sixties, during which he talked about the “kinaesthetics” of the medium. I saw sound as a means (perhaps the more important) along with image, of provoking a muscular, as well as visual/intellectual/verbal, response. And, too, many of my generation were inspired by Phillip Glass, Harry Partch, and Steve Reich, as well as by the work of those exploiting tape recorders to construct new kinds of sonic experience.

So, in Analogies you’ve the sound of the optical printer, an empty hallway, a drum, an automobile engine slowed down, a developing tray struck and slowed down, piano strings being struck, and what purports to be synch sound (footsteps) but which was actually post-dubbed. These are all percussive in nature and intrigued me by virtue of the way a vernacular source could give rise to something “mysterious and strange.” (Prospero’s words in The Tempest) Indeed this has animated much of my work, particularly in the more recent The Indeserian Tablets (2014).

The Man Who Could Not See Far Enough (1981) Peter Rose

On to The Man Who Could Not See Far Enough. Having figured out the basic laws that characterized “diachronic motion” I then wanted to apply these to the articulation of something more personal, more poetic, and more evocative, and so I tried to assimilate the approach to a grander ambition.

"The Prologue" is interesting. I had written the text while traveling in the Caribbean in the late sixties and liked the way it seemed to apply to the game of hide and seek being played by the shadow of the car. I tried narrating it in English but found it hideously dull and thought that perhaps a voice speaking another language might bring a little gravitas and register to the occasion. It seemed arbitrary to settle on any particular tongue and so I thought I’d invent a language for the occasion. Several weeks of improvisatory articulation led me to develop a kind of right-brain talent for riffing in what sounded like a language. And so I “translated” each line into what sounded like it might be a semantic equivalent, taking cues from the etymology and rhythm of the English utterance. (I later exfoliated this approach into a much more complex investigation called Secondary Currents (1982)…).

Moving on: the second section, titled “One”, actually, is a visual representation of what I understand to be “klangfarbenmelodie”, tossing around a melodic idea between different instruments. Here the landscape is, in effect, tossed around by the force of Time –we see a consistent subject but it has been refracted by weather and time of day–. (This particular section took me a year to make; I composed and executed many different scenarios but this was my favorite). The melody here, too, is tossed around between different instruments so there is a fairly literal relationship between sound and image.

“Two” is pretty self-explanatory, although it is fun to note that the sound of impacts, made occasionally throughout the film as if they were made by cars hitting struts on the bridge, was actually made by dropping a chair on a bare floor and adding a little echo. Too, the voice moves from a vaguely interior space throughout most of the narration and out into an exterior soundspace at the end.

The Man Who Could Not See Far Enough (1981) Peter Rose

“Three” was shot during total solar eclipse of the sun. I’ve seen three eclipses and they are so totally overwhelming that it is difficult to shoot in any objective way. This particular event took place off the coast of Mauritania when I was on a boat with a bunch of astronomers who also wanted to observe the event. I wanted to document the way the sky changed, rather than concentrating on the details of the eclipse itself. That was, I thought, the source of the power of the moment. The multiple image is directly inspired by the music of Steve Reich insofar as it devolves upon unpredictable structures that arise when predictable cycles of different lengths are juxtaposed. It starts out seeming to be completely ordered, but then it seems chaotic, and then it returns to another kind of order –like a sign being given–. This is all the consequence of the algorithm I used to construct the compound image. But the sound is actually generated by my voice –I thought of it as the “sound of light”–.  The screams of the astronomers were recorded on location during the event.

Part "Four" is too complex to be described verbally. Suffice it to say that we see a hemisphere of space that revolves, like a kind of astronomical instrument, and which presents us with an perfectly coherent image of the sky and yet a fractured and fragmented image of the viewer. And yet there are no cuts…. Sound was made by recording running water and slowing it down.

Finally, part "Five" is pretty self-explanatory. As backstory, I’ve climbed around ten bridges, most without permission, and thought it would be fabulous (taking the term in its original meaning) if I could climb the most iconic bridge in North America. I had originally been given permission to go up in November, and had intended to go up to the first tower only, but the weather was bad and, in the interim, I realized that I had to cross the whole bridge if it was to be about “passage” rather than “conquest.” The final image is modeled on Peter Bruegel The Elder’s Landscape with the Fall of Icarus (1555), wherein the protagonist is so small as to be almost invisible. The track was taken from Ornette Coleman’s Skies of America (1972), but I superimposed the music over itself with a one measure delay, trying to suggest an immense space through sound and resonating with some of the thinking, certainly, behind Analogies. When I showed it, upon a fortuitous occasion, to Ornette Coleman he summarized the film in the most marvelous way. He said:

“I see what this film is about…..It’s about the Open”.

In all of this I’ve been immensely impressed and inspired by the work of many: Michael Snow, Peter Greenaway, Steve Reich, Phillip Glass, Hollis Frampton, Harry Partch, Sid Caesar and Maya Deren.

Analogies: Studies in the Movement of Time (1977) Peter Rose