Shutter Interface
Paul Sharits
Paul Sharits’ Shutter Interface is a multi screen installation born of an intent to reveal the material substance of cinema in its purest form: spatially.
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Paul Sharits’ Shutter Interface is a multi screen installation born of an intent to reveal the material substance of cinema in its purest form: spatially.
Writing that shows us that, even in struggle, there is light to be let in.
The worlds leading radio art station brings you: a performance, a radio show, an installation, an endurance test.
Imagery, drawn from what seems like hundreds of different films is overlaid and combined in a promissory rainbow of new meanings and impossible scenarios, with the unsettling feel of daylight shadows.
Our Zooms are unmuted, our mics are open, and our hearts and bodyminds are receptive. We give the floor online and in person to you…
Equal parts spectacle, installation and performance, his set for us is a specially developed work, ‘turning’, which features an orchestra of multiple turntables, 4 projections and a collection of old, and, quite probably, misfiring analogue kit.
“Hidden in the hands an alluvial transcription of reach and embrace. The final flickers of the body’s expression, caress and touch.” – boychild
A performed lecture concerned with Renaissance occult (musical) thinkers of the cosmic who put forward the notion of the “disharmony of the world”
The Scottish based Paragon Ensemble has commissioned David Fennessy to compose music for Instal, which will be performed during the evening.
Blissed-out sun-dappled drone ragas of the highest order, with a metal-tinged signature sound of plucked and bowed strings.
A parody of a (Manhattan) road movie and meditation on bifurcation, in paths traveled between the seen and the heard; a road trip played over and over from different perspectives.
Copying without Copying is 3 evenings of events that are about what happens when we speak, or when we hear someone speak on our behalf, when we share a collective moment of hearing and maybe understanding.