Optical Sound Film Talk
Guy Sherwin
Guy Sherwin gives a kind of annotated, chat through his optical sound films
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Guy Sherwin gives a kind of annotated, chat through his optical sound films
A performative survey of listening, as we managed to find it being used as a tool in different practices, disciplines and communities in North America (music, poetry, film, philosophy, activism…).
No Wave, damaged garage jams and crazed instant vocal shrieks.
Michael Colligan pressing white hot metal into dry ice, causing the metal to sing and scream.
A 2-day workshop to deconstruct our classed experiences and the ways in which we reproduce the same class system we fight against, in order to create a stronger, more egalitarian Scottish art sector.
With Taku we’ll carry out some simple proposals for doing almost nothing, for re-thinking sound with whatever comes to hand.
A guitar solo of frugal wringing, of notes in the dark, an attitude of making everything count.
An extravagant debauch of huge pianos, plush toys, cognac and ritual.
A programme looking at landscape, filmic or architectural spaces and at how the fixed stare of a camera frame only captures so much reality; here we focus on how filmmakers structure our relationship with that reality and at how they relate it to or interpret it through sound.
Ecstatic, intensely joyous experimental club music: like “the sound of our water ceremonies…40 bands playing their melodies at once to recreate the cacophony of the first aurora and the call of the morning star Venus”.
Akio Suzuki and John Butcher performing in an abandoned oil tanker on Hoy.
Nina’s going to talk about November, by Hito Steyerl: what and how the film thinks, or about what and how it might makes us think (which is connected, but not the same thing), by watching, and it discussing (with you?).