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an overflowing bowl of water in a sink displays beautiful interference waves

Film Programme: Events

Film Programme: Events

Everyday objects and materials (rubber bands, paper, a sink, microphones) disabused of their inertia and made to speak for themselves in a kind of focusing in on the tiny, repetitive, almost unobserved (sonic/ visual) potential of everyday things put into motion.

A sort of loose investigation into material detail and the sonic and visual qualities of everyday objects and situations, this programme includes a nice piece of baritone paper, some tin foil, the ominous but quite delicate potential of plastic bags, a study in repetition and difference created by a dripping tap, incinerated microphones and some frantic rubber band action. I’ll pay more attention to my kitchen from now on.

Dripping Water, Dir. Joyce Wieland, Co-maker Michael Snow,1969, Canada, 16mm, 10 mins

A bowl. A sink. A dripping tap. This should be stultifying, but instead, through the repetition of action a serene, diverse and mesmerising music is created. Frustration is also created by not being able to stop and intervene the action, that would in a familiar sense be generally considered an annoyance.

Fill, Dir. David Askevold, 1970, Canada, Mini DV, 8 mins 20 secs

“The monitor becomes a picture-sound box. The screen is filled by laying sheets of aluminum foil on a microphone and wrapped one at a time and then unwrapped. The audio implodes during the wrapping and explodes as the sheets are pulled away from the microphone. Besides the obvious reading of physical filling, the title also refers to filling time or a ‘filler’ between television shows.” (David Askevold)

Bags, Dir. Benedict Drew, 2007, UK, Mini DV, 5 mins 45 secs

This environmentally contentious modern everyday object becomes the subject to a repetitive analysis, revealing each bag to have subtle distinctions and even character traits. Bags can be viewed here.

MICRO 1, Takehisa Kosugi, 1964, Japan, text score, paper, microphone, 7 mins

“Wrap a live microphone with a very large sheet of paper. Make a tight bundle. Keep the microphone live for another 5 minutes.” (Takehisa Kosugi)

Rubber Band, Dir. David Askevold, 1971, Canada, Mini DV, 3 mins 18 secs

“Structure: Holding a rubber band between my thumbs and forefingers, I strum it as fast as I can close to the microphone. The camera is static and runs until the S8 cartridge runs out. The sound is recorded on tape separate from the film, so the audio which sounds like a drum, slowly moves out of synch with the image.” (David Askevold)

Balloons, Dir. Benedict Drew, 2008, UK, Mini DV, 0 mins 56 secs

This Peeping Tom takes it out on the party decorations. Point of View is also Point of Sound. Balloons can be viewed here.

My Wretched Heart is Still Aglow, Dir. Juneau Projects, 2004, UK, DVD, 8 mins 16 secs

Juneau Projects utilise the microphone’s ability to record and broadcast its own demise as part of an ongoing exploration of their ambivalent attitudes towards technology and nature. (Juneau Projects)

Corne de Brume, Dir. Körner Union, 2007, Switzerland, Beta SP, 0 mins 30 secs

A variety of pastoral scenes are rudely interrupted. Documenting sound and its effect.

Below are online links which you can use for reference. To see the films in their original glory, check with the distributor of the film for their terms and conditions.


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