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Friday March 19, 2004
Ann Arbor Film Festival


8pm show:
Electronic Spine Track 1 (Short Version)
juLiE mEitZ, Detroit
MiniDV, 4:30 2003
Band: Midwest Product

Zoom into Space! Zoom into Blood!  This is a mixture of great 16mm Educational Films, transferred to digital, and remixed to the beat of the music. 
Techniques involved laborious audio-scrubbing in the timeline to find music
cues for video synchronization.

Raymond Salvatore Harmon, Chicago
MiniDV,  3:30, 1999

Organic tapestries of decaying matter dissolve time as flowers bloom and erosion becomes the birth of complex compositions.

Duet for Alto and Tenor Televisions
Josh Rosenstock, Chicago
Live Performance, 15 min, 2004

A performance piece using an electronic video/music instrument of my own design. In the improvised performance, tiny snippets of historical found footage are obsessively re-examined and remixed into a live sonic and visual collage.  Shifting loops foreground the grain of the voice and image, the micro-gestures of the filmed subjects, and the rhythms that fall into and out of phase as the material is recombined.

Reading and Cleaning 5:00, 2004
bubblegone vs. verzerren, Ann Arbor
DVD, 4 min, 2004

the process of emptying oneself in music and image creation through examining subconscious objects in our lives

Fireworks (no mail days are sad days) - World Premier!!
Jeff Economy, Chicago
miniDV, 15min, 2003

A fugue for rock band and explosives.  The piece originated as a specially made film for the band Califone to improvise to during their live show.  The soundtrack for this version was recorded in-studio.  The band members recorded their parts separately while playing along to the film; only when all were dine did they hear each other’s contributions.

Girl Shoots 2 Boys Brawling!
Potter-Belmar Labs, Ann Arbor
miniDV, 1:30, 2003

A fight to the death!? 
Made for the Low Voltage Film Festival category “music video (no rock music).”

Michaela Schwentner, Austria
BetaSP, 6 min. 2003

Experimental. "Jet" is a precisely composed interplay of color and form which structures the viewer's perception significantly.

The Stairway at St.Paul's
Jeroen Offerman, Netherlands
BetaSP, 8 min. 2003

Experimental narrative. Based on the hysteria that surrounded certain music recordings of the 1960s and 1970s. Rock bands supposedly placed hidden messages in their records that could only be heard when played backwards. It's also about auditioning as a rock star in the bathroom mirror.

Thinkbox, Detroit/Windsor
Live Performance, 15 min, 2004

Friday March 19, 2004
Ann Arbor Film Festival


10pm show:
To the Happy Few
Thomas Draschan, Austria/Germany
16mm, 4.5 min, 2003

Experimental. The film is structured around a mystical idea of mandala, in this case pictures of suns, galaxies and planets in sync with an Indian Bollywood song. The film covers a wide variety of found footage from various sources and decades starting in the 1930s until the end of the 1980s.

Augustin Gimel, Paris, France
3 min, 2003

Experimental. Rotating landscape, animated postcard, the Anosy lake in Antananarivo (Madagascar) considered as a space to approach by his own characters.

The Shennanigans Summon the Bat
The Shennanigans, Lansing MI
Live Performance, 15 min, 2004

audio-video improvisation: every gesture creating both music and video

Sofa Rockers
Timo Novotny, Austria/Japan
BetaSP, 4.5 min, 2000
Experimental. Timo Novotny's video for Richard Dorfmeister's Sofa Surfers Remix studies how each beat has its own speed and each tempo suggests certain images. Near the end, the rhythm materializes in the human body.

Electronic Spine Track 4
juLiE mEitZ, Detroit; Band: Midwest Product
miniDV, 5:00, 2003

Reverb-Boost-Overdrive!  Flashback to the early electronic music devices!  This is a mixture of great 16mm Educational Films, transferred to digital, and
remixed to the beat of the music.  Techniques involved laborious audio-
scrubbing in the timeline to find music cues for video synchronization.

Bruce McClure, NYC
Live Performance, 12 min, 2003

n.2 modified projectors with variable transformers, n. 1 film length, n. 1 gel, digital delay and equalizer.

The notion of the additive or subtractive influence of light is made concrete by means of a brass plate cut and fitted to the pressure plate assembly of a projector. The projector adorned in this way was also disabled by removing the lens, allowing light to shine directly onto the moving film surface unobstructed by the influence of a shutter. The transport mechanism was used to carry a length of unexposed black and white film from beginning to end. During this motion, the light sensitive emulsion was exposed to stroboscopic light of varying frequencies, derived by multiplying the film transport rate by arbitrary rational numbers (1/2, 3/8, 1/4 & 1/8). Light, therefore, was distributed on the film surface as apportioned by the reciprocal effects of the projector and the strobe, and modified by the intervening sculpted brass plate. The patterning of emulsion was continued onto the sound track to create a signal for manipulation, by use of a digital delay, equalizer and loudspeakers.

Tiny Inconsistencies
Raymond Salvatore Harmon, Chicago
MiniDV, 4:30, 2001

The subdued flame-like flashes and sounds reinforce the feeling of quietly smoldering passion. Together, these elements come together to create a delicate composition which is abstract, yet full of feeling.

Excerpts from LOST & SOUND
Ken Butler, NYC
Live Performance, 15 min, 2000

    The voices of anxious objects (hybrid string instruments) are coaxed (and coerced) to sing for their supper (a spicy middle-eastern stew) as the artist/musician pulls out all the stops (and pedals) alongside video projections (spinning rocks, robot parades), and some electronic tricks. Function and form collide as Duchampian Dada meets Hybrid Hindu Hendrix.

programmed by Leslie Raymond

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