Location, Location, Location
Frame from The Coming Race by Ben Rivers

Experience a sense of being in the world, in a specific space and time. Including Jeanne Liotta’s recordings of the ionosphere and Walter Ruttmann’s radical 35mm precursor to musique concrète.

This programme is collected around the theme of location, or landscape and a few examples of how it can been interpreted in sound and image.

A couple of good examples here might be:
Baume im Herbst, by Kurt Kren. Kren takes a serialist approach to editing inter-cuts multiple black and white footage of trees until they become a flickering, abstract brooding on the landscape. At the same time he scratches directly onto the films optical soundtrack, creating an uncanny and equally brooding rustle and thunder. Image moves from concrete/ real to abstract, sound in the opposite direction.

Weekend, by Walter Ruttmann. Ruttmann spent one weekend during 1930 in Berlin, documenting on 35mm film the city from it finished work on Saturday to starting the next week on Monday morning. While doing so, he never once removed the lens cap, and so treated the 35mm camera as the most sophisticated audio recording device of its time. Weekend removes the visual from our experience, allowing us to focus on the unique qualities of sound itself, and it’s ability to create a narrative just as accomplished as any visual one.

TitleDirectorLengthFormat
The Coming RaceBen Rivers516mm
Baume im HerbstKurt Kren516mm
WeekendWalter Ruttmann1216mm
What the Water Said 4-6David Gatten1716mm
Observando el CieloJeanne Liotta1916mm
SoundtracksGuy Sherwin916mm
31/75 AsylKurt Kren916mm