Dr Damian Peter Sutton
Lecturer
Department of Historical and Critical Studies
Glasgow School of Art
167 Renfrew Street
Glasgow
G3 6RQ
Tel: 0141 353 4560
Fax: 0141 353 4557
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-----Original Message-----
From: Secret Cinema [mailto:[log in to unmask]]
Sent: 13 October 2004 14:37
To: Secret Cinema
Subject: [secretcinema] Ken Jacobs / Fred Worden, 16 & 23 October 2004
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Saturday 16th and 23rd October 2004 at 2pm
KEN JACOBS, FRED WORDEN, HENRY HILLS
Free Screening (with ICA day membership)
Fred Worden
AUTOMATIC WRITING 2
2000, 10 min., 16mm, B&W, silent
Cinematic abstraction teases and tests the scaffold of our eye-brain
perceptual system through images ambiguous in origin, unclear as to whether
they originate onscreen or in the activated and suggestible viewer.
"Continued explorations of automatism as a practical guide to negotiating
the mysterious zone where light and no-light flutter in fecund equipoise. A
homemade rocket to realms unknown to any movie camera or photo lens. In the
end, perhaps nothing more than a search for an experience of continuity, a
kind of sanity. Failing sanity, a wild ride at leastS" (FW)
Fred Worden
IF ONLY
2003, 7min., 16mm, B&W, silent
"The bubble shape of the human head, perched atop its touchy-feely transport
system has seven moist openings through which everything outside comes in:
two eyes, two nostrils, one mouth and two ears. Inside the bubblehead,
bubble universes spawn ad infinitum and the only passable direction is
directly into the steady headwinds of an ever advancing infinity of veils"
(FW)
Fred Worden
THE OR CLOUD
2002, 6 min., 16mm, B&W, silent
Light as energy is expressed through a succession of monochromatic abstract
forms that spin, flicker, curve and plunge across the screen in black, white
and grey tones, creating a dynamic energetic space. "Or" represents the
space between two uncertain perceptual states, expressed through the
alteration between light and dark, between each film frame and its matching
interval. The interaction between the different states signifies our
conscious presence. "A guided adventure for the eyeballs. And as such,
also, of necessity, an adventure of the mind (how could it be otherwise?).
(FW)
Henry Hills
NERVOUS KEN (From Emma¹s Dilemma)
2003, 21 min., video, colour, sound
"In NERVOUS KEN, experimental film legend Ken Jacobs is "interviewed" by
12-year old Emma Bernstein. Envisioning an exploration of the nature of
listening (of apprehending or not, remembering or not, & creating meaning)
and of the repetitions & variations of verbal expression and its
accompanying often-emphatic physical gesturing as a basis for making visual
music, Henry Hills employs the full range of temporal manipulation available
within the digital realm, exploiting the unique corners which differentiate
DV from 16mm, though including frequent references to themes & techniques
from Jacobs¹ own work (particularly his "Nervous System" performances)
within the arcanum of film. The "musical score" is derived through
permutations of the sync track. This is the first released section from the
ongoing series, EMMA¹S DILEMMA, which follows its protagonist through
numerous encounters with a range of artists in a search for identity
spanning her entire teen years." (HH)
Ken Jacobs
NEW YORK STREET TROLLEYS 1900,
1999, 11 min., Nervous System performance (a work for two projectors)
recorded to video, B&W, sound
Freeze frames, forward and reverse motion, movements out of synchronicity,
images flicker through the projector as Jacobs creates extraordinary
associations between the frames of this archival film of the 1900s. "The
artist-projectionist's mind exposed in spoken words, to be heard over the
trolley-like motor-roar of his machines, describing his precision-moves and
their visual results onscreen. A demo originally made as part of a grant
request." (KJ)
Ken Jacobs
CELESTIAL SUBWAY LINES 2, 3, and 4
2004, c.50 min., excerpts of Nervous Magic Lantern performances recorded to
video, colour, sound
Music composed and performed for the piece by John Zorn and Ikue Mori.
Recorded at a series of special collaborative performances in which John
Zorn, Ikue Mori and Ken Jacobs created a synaesthetic experience of
celestial magnitude. The Nervous Magic Lantern is an acute display of images
created by manipulating the projector with filters, a cooling fan, and a
spinning shutter to generate 3 dimensional landscapes with 2 dimensional
flatness. These flickering, unworldly images combine with John
Zorn's characteristically atmospheric music in a rare meeting of two of
New York's most idiosyncratic and seminal artists.
...
FREE with ICA Day Membership
at
ICA Cinema 2
ICA, The Mall, London, SW1Y
Box Office: 020 7930 3647
Nearest Tubes: Piccadilly Circus, Charing Cross
...
This screening is part of :-
SYNAETHESIA - A NEUROAESTHETICS EXHIBITION
ICA Digital Studio, 6 October 7 November 2004
Open Daily 12 7.30 pm
Synaesthesia is a term used by neuroscientists to describe a specific
condition that occurs when an individual who receives a stimulus in one
sense modality (e.g. sight), receives a stimulus in another (e.g. audition).
For example, a synaesthete might be able to "hear" colors, "see" sounds, or
"taste" textures.
This exhibition will borrow the concept of synaesthesia from the
neuro-scientific world to look at works that allow for crossing-over of the
senses. It will also trace the concept back to its meaning as a joint
experience (syn-aisthisis: to feel/experience together) through works that
engage the audience's perceptual system as a shared function. The goal is
for artists to engage with the nervous system as a communication device in
diverse creative means that all affect the audience - individually and
collectively - in unique ways.
Participating artists: Stephen Vitiello, Ken Jacobs, Nina Sobell, Dr. Sonja
Grun, Fred Worden, Henry Hills and Warren Neidich. Curated by Chloe Vaitsou.
...
FRED WORDEN
Since 1976, Fred Worden has engaged with the medium of film through a
process that communicates one of the essential principles of gestalt
psychology: the perception of continuity through intermittent projection.
KEN JACOBS
Ken Jacobs is a pioneering figure in the history of avant-garde film. Since
the late 50s, he has been experimenting with cinema, through his
explorations of the mechanics of the moving image. His amazing Nervous
System, an innovative projection technique that Jacobs has been developing
since the mid 70s, creates dynamic optical conflicts, unlocking unfamiliar
possibilities hidden deep within cinema and shifting viewers¹ perception of
space, and of perception and cognition themselves. The Nervous System puts
two identical filmprints on two projectors capable of single-frame advance
and freeze. Jacobs operates the two projectors like a master musician,
allowing for the frames to move on slightly out of sync, and thus causing
semblance of motion and strange three-dimensional space illusions. Time
appears constant, "eternalisms" are created, movements appear to be going
places they would be incapable of in real life and audiences are left
disoriented with regards to depth and time.
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