Jean-Philippe Gross
Jean-Philippe Gross
Solo by Jean-Philippe Gross, a French electro-acoustic improviser, working with mixing board, cheap mics, small speakers and an analog synth, built around a honed interest in feedback.
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Solo by Jean-Philippe Gross, a French electro-acoustic improviser, working with mixing board, cheap mics, small speakers and an analog synth, built around a honed interest in feedback.
Includes: a polish counting lesson, around NYC with D A Pennebaker, a portrait of a tower block, a man with a spade, at home with KYTN regular Guy Sherwin, a cinematic Blair Witchish cut-up and a song for some swings.
Slapstick comedy, monologue, and a kind of live sculpture transformed through video, props, musical instruments and make-up.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
When we look, how do we objectify the body; how can we reflect on our (self) image as a construction?
Chip’s written some of the greatest of all Sci-Fi and Fantasy—page turning character driven diamond-hard novels and short stories: each a lens that refracts our real-life struggles and desires.
By focusing on the things that most people don’t notice or pass by uncaring – Steve Roden crafts gentle, sparse and metaphorically loaded compositions.
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
Stripping back the domesticated ‘meaning’ of (everyday, mundane, kitchen) tools to reveal “a lexicon of rage and frustration.” Plus an allegorical use of mundane, everyday things as an examination of how meaning is constructed in film.
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
“Hidden in the hands an alluvial transcription of reach and embrace. The final flickers of the body’s expression, caress and touch.” – boychild
A conversation between influential figures thinking through Blackness and Indigeneity, asking: what if we took seriously the possibility that this world, as we know it, may be coming to an end? We dread the loss of this world, but have we begun to imagine the one to come?