David Hall Phased Time UK, 1974, 12 mins, 16mm

Miranda Pennell Human Radio UK, 2002, 9 mins, video

Wojciech Bruszweski YYAA Poland, 1973, 5 mins, 16mm

The works in this list are all based around music or sound, but their approaches are extremely diverse: from recordings of performances and documentaries about performers, to interpretations of songs and experiments with sound/image relations.

NICK ABRAHAMS & ANA CORY-WRIGHT
NO AGE, NEW YORK
UK, 1993, 50 mins, video
'This rough-guide to the New York scene of the 1980's is a whirlwind tour of the city's film and video 'underground' that doubles up as a walk-on-the-wild-side of the modern imagination. Mixing interviews with underground alumni Beth B, Nick Zedd, Henry Rollins, Lydia Lunch and Richard Kern alongside clips of their controversial, confrontational works. No Age... junks standard documentary structure in favour of a scattershot fanzine-type approach that vividly captures the scene of the period and the energy and attitude behind it.' - Steven Bode

THOM ANDERSON & MALCOLM BRODWICK
--
USA, l966 - 67, sound, colour , 11 mins, 16mm
Credits : by Thom Anderson and Malcolm Brodwick. Projection instructions : play as loudly as possible. A documentary about rock 'n' roll. The Canned Heat, City Lights, Seeds of Time, LA Tymes, Llyn Foulkes, Charlie Watts, Chris & Craig, Duke of Earl, Seeburg, Wurlitzer, The Trip, The Lynch Bldg., Top's, Pandora's Box, Maverick's Flat, someone's backyard. Riot in cell block number nine, riot on Sunset Strip. Hotrod, coin slot, go cart, bomp club. Hound Dog Man, King Creole. Kim Weston, The Shangri-Las, The Supremes, Earl - Jean. The Rainbows, Wolfman Jack, Ernie Bushmiller, Jimmy Reed, Ray Charles, The Who, The Coasters. Standing at the crossroads of love. Fats Domino, Chuck Berry, John Cale, Screaming Jay Hawkins, Howlin Wolf, James Brown - The King. Wax reclamation. Frankie Avalon, The Beatles, The Yardbirds, Great Balls of Fire, an early clue to a new direction. Standing, walking, jumping, singing, surfing. Radio, jukebox, scopitone, pinball, poolhall. Mick Jagger/Earth Angel. Documentary material organised by a predetermined structure. A sequence of picture-sound equations with randomly chosen terms: vertically, - is completely structured, horizontally, it is completely random. A pastiche of cinematography, a parody of montage.

BRUCE BAILLIE
ALL MY LIFE
USA, 1966, sound, colour, 3 mins, 16mm
One shot, early summer in Mendocino. Song, All my life by Ella Fitzgerald with Teddy Wilson and his orchestra. - B.B.

GEORGE BARBER
SHOUTING MATCH
UK, 2004, 12 mins, video
A variety of participants, due to the power of their voices, determine the length of their presence on screen. In order for our culture to feel that something is worth watching or good, all the volume and parameters have to be turned ‘full up’. Similarly so to express yourself in daily life. Nothing is quiet.

ROBERT BECK
NINE YEARS LATER
USA, 1996, 23mins, video
Robert Beck recontextualises videotaped performances he created in the late 1980's to music by The Smiths. By turns gruesome and ironic, these three home-made 'music videos', including Panic, Big Mouth Strikes Again and Girlfriend In A Coma, are brought to their ultimate and canny conclusion only with Beck's long delayed return to them. Revisiting his highly self-concious and idiosyncratic performances Beck betrays the apparent ease and economy of the original clips by deftly editing them against the awkwardness and obsessiveness of their numerous out-takes. Wittingly, with intertitles and voice-over, Beck calibrates his performances retrospectively with the video technology that recorded them, and inadvertently traverses a decade of video history...from the mainstream-media inspired work of the 1980's to the more reflexive performance-based practices of the 1990's.

STEPHANIE BEROES
DEBT BEGINS AT 20
USA, 1980, sound, B&W, 40 mins, 16mm
With music by The Cardboards, The Snakes, Hans Brinker and The Dykes. 'By combining semi-fictionalized and documentary material, this film is as definitive a record of the Pittsburgh punk scene during its nascent underground as anyone could hope for. Beroes' band footage is radical departure from the gimmickry of stereotyped rock band documentary in its use of pans and slow dollys, capturing small glimpses of the musicians at work that a 'PR' film would have avoided at all costs. The cinematography demands a reconsideration of the rock band documentary's hoary technical vocabulary. From the time this film was made changes have already taken place in Pittsburgh punk-dom as the bands have moved from an insular salon society to more 'legitimate' venues. Some say things are better than ever, others mourn the passing of Pittsburgh punk's innocence. Beroes in Debt Begins at 20 has produced not only entertainment, but also a small and very precious time capsule.' - W.T.Koltek, d.j. W.Y.E.P. Radio Pittsburgh.

'Beroes' latest work is quite different from her other films. Once more, however, the film is highly structured and intermixes documentary with acted footage, and makes great use of captions and 'subtitles' as counter-points to the visuals.

Again we see Beroes' concern with language. The cartoon like captions and subtitles further draw our attention to the verbal discourse. For Beroes, the Pittsburgh punk phenomenon is a brand of 'folk' or 'primitive' art. In keeping with this style, she has chosen not to make a slick rock-and-roll documentary - a Woodstock or Monterey pop.' - Lucy Fisher, Pittsburgh University.

DAVID BLANDY
WHAT IS SOUL?
UK, 2002, 3 mins, video
‘what is soul?’ shows Blandy sitting on his bed, record player on the windowsill, apparently settling down to listen to a single. However, as soon as Ben E. King starts to sing on the record, Blandy starts to sing along, confronting the viewer with an impassioned performance. This performance, however, is in vain, as all the viewer ever hears is the original song rather than Blandy's voice.

WOJCIECH BRUSZEWSKI
YYAA
Poland, 1973, sound, B&W, 5 mins, 16mm
The author of the film / seen on the screen / screams: yyyy... Four sources of light constituting lighting are switched by lottery, by an electronic device, within the bounds of chance from 0 to 8 seconds.

In any moment of the film only one of the four lamps casts light on the author.

Each of the four directions of lighting has its equivalent in a different modulation of the author's voice.

The modulation changes synchronically with the change of lighting.

The film technique provides the author with a five-minute long exhalation.

A repeated change of the shot from a close-up to a semi close-up and vice versa is motiveless. - W.B.

JOHN CARSON
AMERICAN MEDLEY
UK, 1985, 11 mins, video
A wicked satire disguised as a tribute. A seemingly endless collection of snippets from songs about American towns, this is America dreaming about itself, about 'Moonlight in Vermont', about California, wishing it was going back to San Francisco. This is America shouting Viva Las Vegas and realising it is only 24 Hours from Tulsa. John Carson takes these instantly familiar and reassuring tunes and fines insecurity and desperation in them. When John Carson sings 'Chicago You're My Kinda Town', he highlights the music's ability to say one thing and mean exactly the opposite.

JEM COHEN
INSTRUMENT
USA, 1998, 115 mins, video
'Far from a traditional documentary, Instrument is a musical document and portrait of musicians at work made collaboratively between filmmaker Jem Cohen and the Washington DC band. The project covers the ten year period from the band's inception in 1987.'

"Piecing it together over five years, I thought of bringing dub to documentary, unadulterated real-time performances, abstract, rough-hewn Super-8 collages and archival artifacts that would collide and conjoin in a way that honestly represented the musical experience." - J.C.

JEM COHEN
MUSIC WORKS
USA, 1980s-90s, 60 mins, video
Compilation of Jem Cohen’s music films including REM, Elliot Smith and Jonathan Richman, including: Little Flags, Night Swimming, E Bow The Letter, Talk About The Passion, Country Feedback, Between Bars, Angeles, Thirteen.

THOMAS DRASCHAN & ULRICH WIESNER
YES? OUI? JA?
Germany, 2003, sound, colour, 4 mins, 16mm
The starting material for this film was educational footage from East Germany with it's very reduced graphics and high redundancy.

The music, a song by Michèle Polnareff called "La Poupée"- was chosen by Ulrich Wiesner and delivered in an English cover version on tape.

Soon after we had worked out the basic structure of the film: an alternation of redundant illustrations of the words of the song and abstract parts Ulrich Wiesner died and I had to finish the film alone, which gave the work a different direction.

Images of a dreaming woman suggest that the content of the film emerges from the unconscious. These images floating by can more easily be analysed in an emotional than a rational way. To achieve that I avoided to strict formal decisions, and also relied on decisions of the moment.

STEPHEN DWOSKIN
JESUS BLOOD
UK, 1971, sound, colour, 30 mins, 16mm
'... the singing voice of the last days of a London drunk (anonymous) as the orchestra raises him to heaven. The faint ghost image of a figure swims gradually to you through the grains of film low light ....'

Music by Gavin Bryars.

GILL EATHERLEY
HAND GRENADE
UK, 1971, sound, colour, 8 mins, 16mm three-screen
Three screens of riotous abstraction, powered by a Neu! soundtrack.

" Malcolm Le Grice helped me with Hand Grenade. First of all I did these stills, the chairs traced with light. And then I wanted it to all move, to be in motion, so we started to use 16mm. We shot only a hundred feet on black and white. It took ages, actually, because it's frame by frame. We shot it in pitch dark, and then we took it to the Co-op and spent ages printing it all out on the printer there. This is how I first got involved with the Co-op." - Gill Eatherley, interview with Mark Webber, 2001

KEITH FRAKE
ACOUSTIC MAP
UK, 1977, 13 mins, video
A space is mapped by the sound of a hammer's reverberations on a wall.

"In keeping with an interest in history, I have chosen to consult for my work those 'places of particular historical or ideological interest' examining the confrontation that occurs, or in some cases the seduction when present experience meets the past face to face." - K.F.

ROB GAWTHROP
MUSICAL
UK, 1979, sound, colour, 15 mins, 16mm
An improvised musical construction.

Three performers (only two are ever seen) play an array of metal and wooden percussion suspended from trees, wearing fur coats and gloves. They play three times for each 100ft take, superimposed onto itself complete with live fades of image and sound. - R.G.

LOL GELLOR
DRUMBEAT
UK, 1991, 7 mins, video
A post-psychedelic study of a drumbeat which splices together monologue music and dance to produce an experimental and challenging mix of image and noise.

GERD GOCKELL
MILES! SO WHAT?
Germany, 1993, sound, colour, 4 mins, 16mm
Miles Davis walked off the stage soon as his solo was over.

So what?

Coltrane walked off the stage...

DAVID HALL
PHASED TIME
UK, 1974, sound, colour, 12 mins, 16mm
'Constructed on a pre-determined progressively self-defining 'phased' score and lens-matting procedure, Phased Time2 consists of six sections, each out of a 100ft roll. All work was done in camera except for linking with black spacer between sections. Apart from the first, each section is subdivided according to logical cyclic procedures. Each division (take) is a fixed position shot. At every consecutive take the camera is 'pre-panned' half a frame's width to the right. Effectively, the camera is revolving in a 'static pan' around a room throughout the film. Also, each consecutive take is partially superimposed over its predecessor (by rewinding after each take) and consequently phases the half-frame moves... The sound phases and everntually superimposes synchronously with the picture, and was produced on a synthesiser and electric organ.' - D.H.

RICCARDO IACONO
SKZCP
UK, 1997, sound, colour, 3 mins, 16mm and video
An abstract kinetic light sculpture / visual music composition, with synchronised drum ‘n’ bass soundtrack by FlyFace. Composed of colours, textures and shapes painted directly onto 16mm film and manipulated using  an optical printer. Free flowing, organic and visceral. Intricately edited and syncopated by the movement of reflected and refracted light on the film surface.
AN ANIMATE! FILM

IAN HELLIWELL
SOUNDTRACKS FOR THE CITY
UK, 2001, 50 mins, video
Devised and compiled by Ian Helliwell, the Soundtracks For The City series of films give a new lease of life to old Super 8 tourist footage found in flea markets and second hand shops. The uncut versions of these promotional films (1940-1970), originally silent and depicting big cities around the world, form the basis of the series. Their fine cinematography, balanced compositions and sympathetic postcard-like mood represent classic commissioned film, a genre that has now all but vanished. Helliwell asked a group of musicians he knew to compose music inspired by these nostalgic, faded city visions.

At their best, the results are pretty eccentric and include the Birmingham group Pram’s subtle post-rock impressions of the Rio carnival, Tele:funken’s precise view of Geneva’s idyllic history, Testcard’s hectic speeding during a motobike trip from London to Paris, and last but not least, Op:l Bastard’s stylized electro-acoustic adventures in merry Copenhagen.

FREDERIEKE JOCHEMS
DUET VOOR CELLO EN FILM
Netherlands, 1984, sound, colour, 26 mins, 16mm
The film is based on the third suite for cello by Benjamin Britten. This piece is the only sound in the film and is performed by Colin Carr. The images are a visual reflection of the structure of the music, which is built up from four Russian themes. These are played through the whole piece in fragments and variations and won't be heard in their entirety until the very end.
Each of the four themes is reflected by joining it with a person, in a specific environment, filmed with a distinctive camera-style movement. In the process of the piece, four female characters are juxtaposed by montage or semi-narrative overlaps, all depending on the musical structure. The originated characters and images represent a visual abstraction of the musical themes, although the naturalistic depiction doesn't withhold the suggestion of a dramatic course. -F.J.

BRIAN JOHNSON
IMPRO-VISIONS AND LOVE SIGNS
UK, 1991, 6 x 5 mins, video
In Impro-Visions, the technique is to relay to the musicians, playing in the sound studio, a series of video images generated by the artist at the same time in a separate video studio…

LEWIS KLAHR
DAYLIGHT MOON
USA, 2003, sound, colour, 14 mins, 16mm
'There are things I could say about Daylight Moon but very few I want to before someone has seen it. But I will say this: of all the films I1ve made using collage to muck around in the past, this one gets the closest to what I'm after.' - L.K.

'There is wonder, suspense, turmoil, then finally the equivocal idyll of Nick Drake's River Man. Music is terrifically salient in Daylight Moon, at least as controlling a partner as the pops and hisses of an old record player through the first third of the film or the cryptic image patterns. The piece luminously evokes Klahr's ongoing fascination with how consciousness is structured by random shards of pop culture, skewing vision forever, like the splinters lodged in the eyes of the onlookers in Andersen's The Snow Queen.' – Marina Vishmidt

DAVID LEISTER
NOTES ON A LINE
UK, 1987, sound, B&W, 12 mins, 16mm
'Notes on a Line' is David Leister's film in which two musicians, specifically Aleks Kolkowski and Alex Maguire, perform to a silent film of themselves playing violin and piano; in effect, to their own silent film.

Images of piano and violin appear on the screen as the musicians prepare and take their places. The live musical performance then follows the complex film images of piano and violin, building up a relationship between what is seen and what is heard. Image and music progressively overlap until, although separated by celluloid, they eventually act as one. What results is a unique relationship between film and music; the filmmaker and the musician.

CHARLES LEVINE
BESSIE SMITH
USA, 1969, sound, B&W, 13 mins, 16mm
"A cinematic tribute to the late blues singer, Bessie Smith, with Bessie Smith as she appeared in the 1929 film Saint Louis Blues, and songs sung by her as well as commentary by Joseph Marzano." - C.I.L.

ANNE McGUIRE
I AM CRAZY AND YOU'RE NOT WRONG
USA, 1997, 11 mins, video
A wonderful witty work about nostalgia and desperation. Ann McGuire portrays a Kennedy-era singer performing in a space where theatre meets television. McGuire's Garlandesque gestures provide both a sense of tragedy and humour. I am Crazy and You're Not Wrong weaves narrative, performance, memory and history into a ironic and haunting work of unique proportions.

KLAUS MAECK
EINSTURZENDE NEUBAUTEN LIEBESLIEDER 1 & 2
Germany, 1993, 100 mins, video
Einsturzende Neubauten are not only one of the most innovative and challenging groups of the last 15 years - the way they stormed the citadel of music with an armoury of jackhammers, drills, chain saws, junk metal percussion, sculptures, tapes and amplified guitar noise made them the most formidable live spectacle this side of total war. Yet as the dust settles, the restless musical intelligence releasing and then choreographing the apparent chaos becomes clear. Much more than a spectacle of disaster and ruin, Neubauten's great and various noises eroticize de-sanitised and dead zones of contemporary life.

Surprisingly, given their extraordinary visual spectacle, Liebeslieder is the first proper Einsturzende Neubauten documentary and demonstrates how far Neubauten have dissolved the barriers separating music, performance and visual arts.

JOANNA MILLET
NOTES
UK, 1986, 8 mins, video
Notes is a composition of notes played on the piano, constructed through the editing (based on the attack, sustain and decay of the notes) to form a dynamic sound/image relationship. - J.M.

MIKE NYMAN
LOVE LOVE LOVE
UK, 1964, sound, B&W, 5 mins, 16mm and video
A pixilated record of the 'Legalise Pot' rally in Hyde Park, with appearances by Allen Ginsberg, Heathcote Williams, David Medalla, etc., etc. soundtrack is the Beatles' song of the same title.

THOM OSBORN
GETTING READY
UK, 1995, sound, B&W/colour, 19 mins, 16mm
'The hours before a concert - a pianist prepares himself. Frangcon Davies plays the part of the pianist in this film. But he is a real pianist, and it is not just a part: 'As everyone knows, you get extremely nervous before a concert - the Bedouins have an exercise before they go out hunting.'

'Thom Osborn shot the main, black-and-white, fiction part of this film some thirty years ago. Recently he interviewed, in colour, the pianist and his wife from the film. They tell us, with a documentary edge, how they now perceive the event. Looking back on the preparation needed for any big event highlights the need for focus and an isolating preoccupation.' -T.O.

JAYNE PARKER
THINKING TWICE
UK, 1997, sep mag track, B&W, 25 fps, 10 mins, 16mm
'Thinking Twice features the pianist Katharina Wolpe playing music composed by her father Stefan Wolpe. (...)
Stefan Wolpe's work is renowned for its originality and rigour, it's sense of space and surprise. The unique and vital contribution of this important avant-garde composer continues to influence many young composers of today. The title is taken from a series of lectures given by Stefan Wolpe...'

JAYNE PARKER
FOXFIRE EINS
UK, 2000, sound, B&W, 10 mins, 16mm & video
Performed on film by ’cellist Anton Lukoszievize, FoxFire Eins natrimpentothal (1993), is the name of a solo composition by Helmut Oehring. In FoxFire Eins the ’cellist must play with both hands plucking and striking the strings which are tuned down a perfect fourth. The child of profoundly deaf parents, Oehring’s first language was signing. Oehring hears music as gestures - for him music comes out of movement.

MIRANDA PENNELL
HUMAN RADIO
UK, 2002, 9 mins, video
Ordinary people dance in private moments of personal abandon, in living-rooms across London during the summer of 2001. The film is the result of the director's work with respondents to an advertisement seeking 'living-room dancers' - people who like to dance behind closed doors. Combining documentary detail with theatrical invention, this is a film about ordinary moments of everyday, imaginative transformation.

MARY PERILLO & JOHN SANBORN & CO.
GALAXY
USA, 1987, 6 mins, video
Galaxy is the first all-digitally edited music video. As David Van Tieghem performs, techniques such as slow motion, ultimatte and Paintbox animation allow him to sonically and rhythmically interact with a high-tech environment.

WILLIAM RABAN
BEATING THE BRIDGES
UK, 1998, 11 mins, video
From the wealthy suburbs of West London, the Thames flows past the familiar landmarks at Chelsea, Westminster and the City, to the industrial flatlands beyond Dartford Bridge.

The 30 bridges spanning the river provide a range of acoustic space that is featured on the soundtrack by ambient reverb and a live percussion score.

RALPH RECORDS
THIRD REICH AND ROLL
USA, 1978, sound, colour, 5 mins, 16mm
'Recently there was a screening in Portland (Oregon) of short films made through Ralph Records. Much like the challengingly bizarre music that company specializes in, each film imaginatively drew often surreal effects, constantly stunning the audience with totally unique images and ideas...absolutely fantastic films...'

From San Francisco, RALPH RECORDS presents:
THIRD REICH AND ROLL
Featuring The Residents.

BARRY READ
NEWS OF YOU
UK, 1983, 7 mins, video
News of You is a promotional tape made with and about the band 1000 Mexicans.

LIS RHODES
LIGHT MUSIC
UK, 1975-77, sound, colour, 20 mins, 16mm double-screen
Length and format of this film are variable.

'Lis Rhodes has conducted a thorough investigation into the relationship between shapes and rhythms of lines and their tonality when printed as sound. Her latest work, Light Music, is in a series of movable sections. The film does not have a rigid pattern of sequences and the final length is variable. The imagery is restricted to lines of horizontal bars across the screen: there is variety in the spacing (frequency), their thickness (amplitude), and their colour and density (tone)'. - William Raban, extract from programme notes for Perspectives on British Avant-Garde at Hayward Gallery, 1977.
Part of SHOOT SHOOT SHOOT

SEMICONDUCTOR
MÚM – GREEN GRASS OF TUNNEL
UK, 2002, 5 mins, video
Green Grass Of Tunnel is a music promo for Icelandic band Múm.
Inspired by the mysterious terrain where the music was made and remodelling the very lighthouse and valley they lived in.
© 2002 Fat-Cat Records

GUY SHERWIN
MUSICAL STAIRS
UK, 1977, sound mag stripe, B&W, 10 mins, 16mm
One of a series of films that uses soundtracks generated directly from their own imagery. I shot the images of a staircase specifically for the range of sounds they would produce. I used a fixed lens to film from a fixed position at the bottom of the stairs. Tilting the camera up increases the number of steps that are included in the frame. The more steps that are included the higher the pitch of sound. A simple procedure gave rise to a musical scale (in eleven steps which is based on the laws of visual perspective. A range of volume is introduced by varying the exposure. The darker the image the louder the sound (it can be the other way round, but Musical Stairs uses a soundtrack made from the negative of the image.) The fact that the staircase is neither a synthetic image, nor a particularly clean one (there happened to be leaves on the stairs when I shot the film) means that the sound is not pure, but dense with strange harmonies. - G.S.

JOHN SMITH & GRAEME MILLER
LOST SOUND
UK, 2001, 28 mins, video
Caught in the branches of trees, wrapped around street signs and satellite dishes, discarded audio tape is the tumbleweed of the technological age. Lost Sound documents fragments of tape found by the artists' within a small area of East London. The work explores the potential of chance, creating portraits of particular places by building formal, narrative and musical connections between images and sounds linked by the random discovery of the tape samples.

MICHAEL SNOW
NEW YORK EYE AND EAR CONTROL
Canada, 1964, sound, B&W, 34 mins, 16mm
'This film contains illusions of distances, durations, degrees, divisions of antipathies, polarities, likenesses, complements, desires. Acceleration of absence to presence. Scales of 'Art' - 'Lift', setting-subject, mind body, country city pivot. Simultaneous silence and sound, one and all. Arc of excitement, night and daylight. Aide. side then back then front. 'Imagined' and 'Real'. Gradual, racial, philosophical kiss.

'Conceived, shot and edited by myself in 1964. I selected the group of musicians: Albert Ayler, Don Cherry, John Tchicai, Roswell Rudd, Gary Peacock, Sonny Murray. It is one of the greatest 'jazz' groups ever. The music used on the soundtrack and other takes from the recording sessions have recently (1966) been issued on record (ESP-DI K 1016). Paul Haines wrote the prologue which appears in the film. Walking Women Works (1960-67). The Eternal. The Alarm Clock.-M.S.

'Mike Snow postulates an eye that stares at surfaces with such intensity....the image itself seems to quiver, finally gives way under the pressure. A deceptive beginning-silent: a flat white form sharply cut to the silhouette of a walking woman, for no apparent reason propped against trees, rocks seashore. But slowly-under attack by time, light and an incredible growing music so aggressive it begins to bypass the ear and attack the eye's habits of seeing. Each time a cut wipes away this absurd idiogram-woman, she reappears - supported against the threat of the destructive eye by the S-O-U-N-D! - that insists on building a space in which objects can sustain themselves.' Richard Foreman.

SOHO TV: JAY CLAYTON
JAY CLAYTON SINGS
USA, ?, 28 mins, video
Downbeat has praised Jay Clayton's 'faultless intonation', the New York Times her 'imaginative vocal invention' and the SoHo Weekly News has simply called her 'one of the most astonishing singers in New York today'...

The first half of the program also features Kirk Nurock, who collaborates with Clayton on two compositions... In the second part, Clayton performs with the Jankay Ensemble in an expanded collaborative improvisation.

FRANCISZKA & STEFAN THEMERSON
THE EYE AND THE EAR
UK, 1944-45, sound, B&W, 10 mins, 35mm & 16mm
Music: Karol Szymanowski, 'Slopiewnie' Opus 46.

Orchestra conducted by Ronald Biggs.

Sophie Wyss (Soprano)

Commentry by Bruce Graeme spoken by J. McKehnie.

Four types of visual interpretation of four songs by Karol Szymanowski, Polish words by Julian Tuwin, English translation by Jan Sliwinski. - S.T.

STEINA & WOODY VASULKA
PARTICIPATION
USA, 1969-1971, 63 mins, video
Participation represents the Vasulka's experience of the New York downtown art scene in the late '60s and early '70s. A fascinating portrait of wildly creative people, places and times, it uses the recently introduced Portapak video system to document, among other gems, Don Cherry trumpeting in Washington Square, Warhol Superstars on stage, and Jimi Hendrix in concert. Participation is a pioneering video documentary, and a free-form time capsule of an era.

STEINA VASULKA
VIOLIN POWER
USA, 1970-78, 10 mins, video
Steina terms this procedural work "a demo tape on how to play video on the violin." Her background as a violinist and her evolution from musician to visual artist is referenced through an analogy of video camera to musical instrument. Steina is first seen in footage from the early 1970s, playing the violin and singing to The Beatles' Let It Be. As succeeding segments trace a chronological progression, Steina layers imagery and time. The violin itself ultimately becomes an image generating tool, as she connects it to imaging devices, creating abstract visual transpositions of sound and vibrations. This unconventional self-portrait is a study of the relationship of music to electronic image.

STEINA & WOODY VASULKA
SOUNDGATED IMAGES
USA, 1974, 10 mins, video
An early example of the Vasulkas' ongoing explorations of interfacing modes of simultaneously generated sound and image, in which abstract, processed images are transposed as electronic sounds.

RYSZARD WASKO
30 SOUND SITUATIONS
Poland, 1975, sound, B&W, 10 mins, 16mm