Sound and image slipping out of synch and into discord, the programme includes (in London at least) a very special version of Hollis Frampton’s masterful (nostalgia) with a live narration by Michael Snow.
A programme of discontinuity between narration, text and image. Including Manual Saiz’s employment of John Malkovich’s Spanish dubbing double and Peter Rose’s absurdly hilarious concrete poetry subtitling chaos.
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.
An immersive environment where sound is looped through oscillators, radio, guitar pick-ups and video amps to create dense strobing images and colours
Out of a dark haze, shafts of light emerge, as the emulsion is scratched from the surface of the film. Simultaneously, out of the black silence, noise and audible scratches bloom into a bright drone.
Multiple images, glimpses of old films, abstract images in the midst of an electro-acoustic sound field of tape loops & analogue synthesizers
Shutter Interface is an expanded cinema piece: a series of machinegun bursts of chromatic relationships and visual harmonics in an overwhelming montage
Noise music for the eyes: projectors turned into instruments, B&W film loops into a thrumming riot of colour, motion and sound.
Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
Jacobs’ pulsing and abstract 3D Nervous Magic Lantern performance grounded by Eric La Casa’s manipulated recordings of everyday locations.