Blog posts tagged with: Music and sound

Posted Feb 20, 2014
By
Andrew Clifford
Julian Dashper, Untitled (Interviews) 2001-02, still from a double DVD in an edition of three

Towards the end of the second disk of Julian Dashper’s Untitled Interviews 2001-2002, Dashper contemplates the potential for documentation in a digital age. Should he keep all the emails he has exchanged with other artists, curators or institutions – we have the technology so why not? But if you keep everything, it becomes impossible to understand what you thought was important. Do you keep everything or do you edit it?

Posted Feb 20, 2014
By
Andrew Clifford
Julian Dashper, Untitled (Interviews) 2001-02, still from a double DVD in an edition of three

Towards the end of the second disk of Julian Dashper’s Untitled Interviews 2001-2002, Dashper contemplates the potential for documentation in a digital age. Should he keep all the emails he has exchanged with other artists, curators or institutions – we have the technology so why not? But if you keep everything, it becomes impossible to understand what you thought was important. Do you keep everything or do you edit it?

Posted Feb 20, 2014
By
Andrew Clifford
Julian Dashper, Untitled (Interviews) 2001-02, still from a double DVD in an edition of three

Towards the end of the second disk of Julian Dashper’s Untitled Interviews 2001-2002, Dashper contemplates the potential for documentation in a digital age. Should he keep all the emails he has exchanged with other artists, curators or institutions – we have the technology so why not? But if you keep everything, it becomes impossible to understand what you thought was important. Do you keep everything or do you edit it?

Posted Feb 20, 2014
By
Andrew Clifford
Julian Dashper, Untitled (Interviews) 2001-02, still from a double DVD in an edition of three

Towards the end of the second disk of Julian Dashper’s Untitled Interviews 2001-2002, Dashper contemplates the potential for documentation in a digital age. Should he keep all the emails he has exchanged with other artists, curators or institutions – we have the technology so why not? But if you keep everything, it becomes impossible to understand what you thought was important. Do you keep everything or do you edit it?

Posted Jan 16, 2014
By
Abby Cunnane
Still from The Golden Fields (2010) Kim Pieters

If you could plan it, you’d wake up to a film like this. Though you wouldn’t actually wake up at all; you’d stay for a long time in the yellow saturated half-light of an evening which sends the sun slanting across fields so flat that they weigh the sky down. Half awake, the horizon tilts, just marginally, but with a finality like it’s the planet that’s tilted rather than the camera. There’s a sound like the sound of an organ, if you were inside of that organ, or inside the ear of someone who was inside that organ, or inside the sound of that organ waking up.

Posted Jan 16, 2014
By
Abby Cunnane
Still from The Golden Fields (2010) Kim Pieters

If you could plan it, you’d wake up to a film like this. Though you wouldn’t actually wake up at all; you’d stay for a long time in the yellow saturated half-light of an evening which sends the sun slanting across fields so flat that they weigh the sky down. Half awake, the horizon tilts, just marginally, but with a finality like it’s the planet that’s tilted rather than the camera. There’s a sound like the sound of an organ, if you were inside of that organ, or inside the ear of someone who was inside that organ, or inside the sound of that organ waking up.

Posted Jan 16, 2014
By
Abby Cunnane
Still from The Golden Fields (2010) Kim Pieters

If you could plan it, you’d wake up to a film like this. Though you wouldn’t actually wake up at all; you’d stay for a long time in the yellow saturated half-light of an evening which sends the sun slanting across fields so flat that they weigh the sky down. Half awake, the horizon tilts, just marginally, but with a finality like it’s the planet that’s tilted rather than the camera. There’s a sound like the sound of an organ, if you were inside of that organ, or inside the ear of someone who was inside that organ, or inside the sound of that organ waking up.

Posted Jun 13, 2013
By
Tessa Laird
Still from Form Next to Form Next to Form, Nova Paul 2013

Form Next to Form Next to Form is a publication by film maker Nova Paul (Ngāpuhi), which celebrates and re-presents her 16mm film This is not Dying from 2010. Turning a film into a book is an interesting proposition, but rather than explanations and stills, Form Next to Form Next to Form translates the hallucinatory language of the film into the print medium, creating a work that casts its own spell.

Posted Jun 13, 2013
By
Tessa Laird
Still from Form Next to Form Next to Form, Nova Paul 2013

Form Next to Form Next to Form is a publication by film maker Nova Paul (Ngāpuhi), which celebrates and re-presents her 16mm film This is not Dying from 2010. Turning a film into a book is an interesting proposition, but rather than explanations and stills, Form Next to Form Next to Form translates the hallucinatory language of the film into the print medium, creating a work that casts its own spell.

Posted Jun 13, 2013
By
Tessa Laird
Still from Form Next to Form Next to Form, Nova Paul 2013

Form Next to Form Next to Form is a publication by film maker Nova Paul (Ngāpuhi), which celebrates and re-presents her 16mm film This is not Dying from 2010. Turning a film into a book is an interesting proposition, but rather than explanations and stills, Form Next to Form Next to Form translates the hallucinatory language of the film into the print medium, creating a work that casts its own spell.

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