Aug 28
“Nova is about new music, chronicling what’s radical and what’s conservative, who’s established and who’s in the avant-garde.”
I am delighted to hear that Full Stop was played on the RTE Lyric FM’s “Nova” radio programme.
Many thanks to Bernard at Nova.
Click here to listen to the programme. Full Stop is played about 37 minutes in. The full programme schedule is below.
From 1964 through around 1969, artist Stan VanDerBeek worked with computer scientist Ken Knowlton on a series of films:
PoemField No. 1 (1965)
PoemField No. 2 (1966) (this one, with a free jazz soundtrack by Paul Motian)
PoemField No. 3 (1967)
PoemField No. 4 (no date)
PoemField No. 5 (1967)
PoemField No. 6 (no date)
PoemField No. 7 (1971)
PoemField No. 8 (no date)
Collido-Oscope (1966) (VanDerBeek, Knowlton and Bosche)
Man and His World, 1967 (shown at Expo ’67)
Each film was constructed using Knowlton’s BEFLIX computer language, which was based on FORTRAN. The films were programmed on a IBM 7094 computer. The films were created in black and white, with colour added later by Brown and Olvey. This particular version is taken from a film with some colour decay.
VanDerBeek passed away in 1984. He is also part of the film Incredible Machine, made in 1968. VanDerBeek was part of a unique program at Bell Labs that allowed artists to work with computer scientists in order to explore and advance the technology in the fields of computer graphics and music. The program was given tacit approval by department head John Robinson Pierce, yet was not a formal arrangement within the Labs.
Footage Courtesy of AT&T Archives and History Center, Warren, NJ
PoetryFilm Equinox
The Groucho Club
Sunday 4 October, 3pm and 6pm
As part of the BFI LOVE season, PoetryFilm will present PoetryFilm Paradox, a curated selection of short film artworks exploring the theme of Love.
Further details will be announced shortly.
*This autumn the BFI will rekindle the nation’s passion for film and television’s most enduring love stories with a major UK-wide season dedicated to LOVE, running from late October to the end of December 2015. A special Summer Love Weekend at the British Museum over the August Bank Holiday (27-29 August) will act as a curtain raiser for the main project.
BFI LOVE will encompass three key themes – The Power of Love, Fools for Love and Fatal Attractions incorporating the heartbreak and longing of epic love stories like Brief Encounter (1945) and My Beautiful Laundrette (1985), cherished and light-hearted romcom classics like When Harry Met Sally (1989) and the darkest tales of obsession, betrayal and danger including True Romance (1993). There will be rereleases of Brief Encounter (6 November), When Harry Met Sally (11 December) and True Romance (20 November) by Park Circus during the season. Alongside a major film and TV programme at BFI Southbank, the BFI will ensure that audiences all over the UK can find that loving feeling via UK-wide theatrical rereleases, DVDs, a collection on BFI Player and bespoke film screenings and experiences up and down the country, presented in partnership with the BFI Film Audience Network (BFI FAN).
Details of the full programme for BFI LOVE, including screenings, events, film and DVD releases, special guests and more, will be revealed on Tuesday 15 September at BFI Southbank.
*copy taken from the BFI website.
Thanks to the c.100 guests who attended PoetryFilm Parallax at The ICA on Sunday 16 August 2015.
Documentation of the event is below.
“Feast your eyes on a curated selection of short film artworks” – Film London
“Great afternoon @poetryfilmorg @ICALondon great curation wonderful films”
“Parallax- a magical & stimulating @poetryfilmorg event @ICALondon Loved #spiritofplace #breathing #eye #talkingskull #fasterthanbirds”
“PARALLAX @poetryfilmorg Great selection by Zata Banks of short films @ICALondon today Next one at @GrouchoClubSoho“
“‘Everything Makes Love with the Silence’ an exquisite fusion of film image and wonderful poetry. ‘It Started with a Murder’ and ‘The Lost Reels’ – two film poems that make art from extreme personal events. Thank you for organising. I’ll be back!”
“‘Spirit of Place’ – a wonderful beginning to an inspirational event. ‘Eye’ made me witness the most intricate movements of vision i had not previously seen.”
“PoetryFilm was absolutely amazing today. Was one of the best collections of films and artists impressions. Great work and long may it continue!”
“Inspiring way to spend a Sunday afternoon. Hail Zata!”
“Inspiring. Welcoming. Well curated. Thank you!”
“Special afternoon watching ‘Barattolo di Sale’ on a big screen at my favourite London film venue. A memory of a truly special afternoon. Thank you Zata Banks of PoetryFilm for this great occasion!”
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Parallax is the apparent displacement, or difference in the apparent position, of a visual object, when viewed along different lines of sight. In his book Transcritique, the Japanese philosopher Kojin Karatani uses the word ‘parallax’ to describe Kant’s shifting between contradictory perspectives. Kant’s “Antinomies of Reason” are contradictory propositions, which seem valid from their own perspectives, but which cannot be simultaneously true. Kant argues alternately from one perspective, then from the other, and Karatani describes Kant’s approach as establishing a parallax between philosophical positions. Karatani asserts that parallax does not equate with negativity, but it does not negate negativity either. The basis of parallax is the positivity of both positions.
Slavoj Žižek argues that in Karatani’s concept of the parallax view, the observed difference is not simply subjective, but that the viewer’s change in perspective reflects an ontological shift in the object itself; “the subject’s gaze is always-already inscribed into the perceived object itself, in the guise of its ‘blind spot’, that which is ‘in the object more than the object itself’, the point from which the object itself returns the gaze” (Žižek, The Parallax View, 2006). “Sure, the picture is in my eye, but me, I am also in the picture” (Jacques Lacan, The Four Fundamental Concepts of Psychoanalysis, 1979).
For the PoetryFilm Parallax screening at The ICA on 16 August 2015, Zata Banks will introduce a curated selection of short film artworks, chosen for their alignment with poetic structures and experiences, and with the visual, verbal and aural languages of poetry in various forms.
PoetryFilm is the influential research art project founded by British artist Zata Banks in 2002, to explore and exhibit experimental text / image / sound material. Since 2002, Zata Banks has presented over 70 PoetryFilm events at venues including Tate Britain, The ICA, CCCB Barcelona, O Miami, The Groucho Club, Cannes Film Festival, The Royal College of Art, FACT Liverpool, Mengi Reykjavik and Curzon Cinemas. Zata has judged poetry film prizes for the Southbank Centre in London, Zebra Festival in Berlin, and for the American journal Carbon Culture Review. PoetryFilm is supported by Arts Council England, and is a member of Film Hub London and part of the BFI Audience Network. The PoetryFilm Archive, which at present contains over 1,000 artworks, welcomes submissions all year round.
info@poetryfilm.org + www.poetryfilm.org
*Image: Eye by Guy Sherwin, courtesy of the artist
Please note the newsletter sent out by Film London this morning offering a free pair of tickets to PoetryFilm Parallax as a competition prize features THE WRONG DATE.
PoetryFilm Parallax is on Sunday 16 August at 4pm at The ICA Cinema.
Film London says: “We should have double checked this though so I do apologise.”
Please see below for details of how to enter the competition.
Parallax is the apparent displacement, or difference in the apparent position, of a visual object, when viewed along different lines of sight. In his book Transcritique, the Japanese philosopher Kojin Karatani uses the word ‘parallax’ to describe Kant’s shifting between contradictory perspectives. Kant’s “Antinomies of Reason” are contradictory propositions, which seem valid from their own perspectives, but which cannot be simultaneously true. Kant argues alternately from one perspective, then from the other, and Karatani describes Kant’s approach as establishing a parallax between philosophical positions. Karatani asserts that parallax does not equate with negativity, but it does not negate negativity either. The basis of parallax is the positivity of both positions.
Slavoj Žižek argues that in Karatani’s concept of the parallax view, the observed difference is not simply subjective, but that the viewer’s change in perspective reflects an ontological shift in the object itself; “the subject’s gaze is always-already inscribed into the perceived object itself, in the guise of its ‘blind spot’, that which is ‘in the object more than the object itself’, the point from which the object itself returns the gaze” (Žižek, The Parallax View, 2006). “Sure, the picture is in my eye, but me, I am also in the picture” (Jacques Lacan, The Four Fundamental Concepts of Psychoanalysis, 1979).
For the PoetryFilm Parallax screening at The ICA on 16 August 2015, Zata Banks will introduce a curated selection of short film artworks, chosen for their alignment with poetic structures and experiences, and with the visual, verbal and aural languages of poetry in various forms.
PoetryFilm is the influential research art project founded by British artist Zata Banks in 2002, to explore and exhibit experimental text / image / sound material. Since 2002, Zata Banks has presented over 70 PoetryFilm events at venues including Tate Britain, The ICA, CCCB Barcelona, O Miami, The Groucho Club, Cannes Film Festival, The Royal College of Art, FACT Liverpool, Mengi Reykjavik and Curzon Cinemas. Zata has judged poetry film prizes for the Southbank Centre in London, Zebra Festival in Berlin, and for the American journal Carbon Culture Review. PoetryFilm is supported by Arts Council England, and is a member of Film Hub London and part of the BFI Audience Network. The PoetryFilm Archive, which at present contains over 1,000 artworks, welcomes submissions all year round.
info@poetryfilm.org + www.poetryfilm.org
*Image: Eye by Guy Sherwin, courtesy of the artist
Here is the full programme for PoetryFilm Parallax at The ICA Cinema on Sunday 16 August 2015 at 4pm.
Tickets: https://www.ica.org.uk/whats-on/poetryfilm-parallax
Spirit of Place, Oliver Harrison, 10 mins
Twelve Hours of Daylight, Bridget Sutherland, 7 minutes (16mm, 35mm, archive, video)
It Started With a Murder, Susan Young, HD, 3mins (HD)
Liberté, Maciej Piatek, 2mins
The Lost Reels, Matthew Humphreys, 5mins (Super8)
Everything Makes Love with the Silence, Hernán Talevara, 2 mins
Breathing, Guy Sherwin, 3mins (100ft of 16mm)
Eye, Guy Sherwin, 3mins (100ft of 16mm)
Our Bodies, Matt Mullins, 2mins (archive footage)
Talking Skull, David Asher Brook, 3mins (stop motion)
Constellations, Julian Scordato, 8 mins
Barattolo di Sale, PNEUMA, 10 mins
Growing Up, Eugeny Tsymbalyuk, 2mins 30seconds (stop motion)
Faster than Birds, Liliane Lijn, 2009 (Poemdrum) 3 minutes
PoetryFilm 