• Nomadica in Senses of Cinema’s World Poll 2019

    On: 20 Gennaio 2020
    In: Senza categoria
    Views: 1354

    In Senses of Cinema’s World Poll 2019, Stefano Miraglia (Movimcat / The Moving Image Catalog) includes two programs of Nomadica’s Weekend On the Moon:
    Field Studies: Rose Lowder and Scott Hammen“, curated by Francisco Algarín Navarro and “Nervous twitching” (Martin Arnold’s Gross Anatomies coupled with Paul Sharits’ Epileptic Seizure Comparison), curated by Rinaldo Censi.

    World Poll 2019 — Part 5

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  • Field Studies: Rose Lowder and Scott Hammen (Fri. Nov 1 – h18.00)

    On: 1 Ottobre 2019
    In: Senza categoria
    Views: 0

    curated by Francisco Algarín Navarro

    BOUQUET 5 © Rose Lowder. Courtesy of Light Cone.

    Rose Lowder, 2001 | 16mm | color | silent | 2′ | 🎥 16mm

    BOUQUETS 1-10
    Rose Lowder, 1994-1995 | color | silent | 11′ 33” | 🎥 16mm

    BOUQUETS 21-30
    Rose Lowder, 2001-2005 | 16mm | color | silent | 14′ | 🎥 16mm

    Scott Hammen, 1995 | 16mm | color | silent | 11′ | 🎥 16mm

    Scott Hammen, 1996 | 16mm | color | silent | 10′ | 🎥 16mm

    LOG ABSTRACT – 1985-87
    Scott Hammen, 1990 | 16mm | color | silent | 17′ | 🎥 16mm

    “If we make a film program, renting short films is more expensive. For a program composed of ten films of ten minutes each, the invoice will prove to be a bit more expensive, but the spectator, watching the program in its entirety, is likely to feel that she/he has watched a much longer program, having seen so many different things – especially if the program is composed of a wide range of films.”

    Rose Lowder

    Rose Lowder’s filmmaking practice is based on a suspicion: pondering on the common assertion that film runs at the speed of 24 frames per second, she noticed that, on the screen, each image doesn’t seem to last the same amount of time. The size is identical, but, in its succession, the resulting image is a composite one. Before owning a camera, Lowder dedicated her time to the study of perception processes, making films with clear leader, a paper perforator and permanent markers. What was the right interval between two frames in order for the eye to compose one single image with two motifs? By way of stimulating certain receptors, two distinct images could be perceived simultaneously. Between the reality of the film strip and the natural quality of the perceived image during the projection, between the images perceived on both surfaces, Lowder discovered an infinite space where she could manipulate optical subtleties created by the enjambment of the images during the screening.

    Later, the Bolex 16mm camera allowed Lowder to shoot frame by frame, emulsifying alternate frames, thus leaving some unexposed. By rewinding the film in the camera, she exposed a second time the frames that she had previously exposed, in such a way that the intertwining of frames generated a superimposition that appeared only on the screen. Again, the perceptive system was based on the overlap of the stimuli. Lowder compared her working method to that of pointillist painters, when they placed a red flower next to a green object in order to enhance the consistence of colours, to make them more vibrant. Just like the coloured flowers that Lowder recorded in each frame, in those paintings the coloured strokes were not superimposed but stood side by side on the painting. In the same way, the filmmaker exposed frames, skipped others, rewinded and created double exposures with previously unexposed frames. On the film strip, we see the red flower along with the yellow and the blue one; on the screen, we see a bouquet of flowers, the colours being perceived simultaneously. The film is exposed in the same way a piece of fabric is woven, by recording the images in various orders and places, and moving forwards and backwards.

    Complete film rolls ran more than once in Scott Hammen’s Bolex as well. Two similar shots show two adjacent fields – in one the crop is more advanced than in the other. By stimulating some receptors (like the privileged presence of the lines, or the forms and the colours) it is possible to intervene within our perceptive system and get it accustomed to the next 24 still images to come, which are closer in time and in space. It is precisely this act of interlacing that allows the unification of two images for the perceptive system, be it recorded in the same place in different time periods – like in Lowder’s films – or at the same time – in Hammen’s landscape films. Sometimes cinema can show us the same point of view recorded in different time periods, like in Rose Lowder’s work (blooming, foliation, fruition) or, through patient attention to the observable natural phenomena (wind, light changes, weather), it can reveal an underlying structure in the chronology and the passing of seasons, or determine the order of the sequences (as in those études en plein air by Corot, to whom Hammen feels so close). As though they were applying brush strokes on a particular portion of the canvas, both filmmakers edit their films in-camera during the shooting itself. The rhythmic punctuation created by the return of the same images in their different takes, or the alternation of the 24 fps speed with other speeds (Lowder), or the creation of layers from multiple shots of the horizon (Hammen) are modulations that are not composed prior to the shooting of the film.

    Nevertheless, the working methods and processes of both filmmakers are thoroughly different. Hammen’s practice was based on looking at the processed film, keeping what was interesting to him and filming again, without taking any kind of notes. His films are successions of sequences, separated by black leader, short blinks that clear the viewer’s sight. The use of multiple exposure is only a very small part of Hammen’s technique. Hammen used to go out to film bringing along a suitcase full of objects, dreaming of Charles-François Daubigny’s bateau-atelier, a floating workshop. Besides colour filters, the use of of black cardboard pieces allowed him to mask parts of the frame and to combine them with frames and borders of various colours. The shorter the focal length and the higher the f-stop (the aperture), the greater the depth of field and the detail of the borders between the masks. In other occasions, Hammen used supplementary masks – one of these consisted in a black rectangle surrounded by a transparent one; another one was a small transparent frame surrounded by a black one. By filming the takes with a wide focal length and strong solar light, Hammen obtained very different results with his cardboard masks than the ones he had achieved with mirrors. The mirrors had allowed him to see the effects in real time through the camera viewer. This gave him the chance to work with only one exposure (should he manage to obtain the reflection of the main image), thus avoiding the juxtaposition of images filmed in different moments, which is what happens with the cardboard masks.

    In his series dedicated to the Sainte-Victoire mountain, Cézanne rendered the real perceptions of the mountain – both its relief and its varied mass. Talking about Rose Lowder’s cinema, Laure Bergala evoked the “plots” that compose all the different facets of a mountain at the same time.Lowder reached the conclusion that the smallest unity in the practice of filmmaking is not the shot, and not even the single frame, as Peter Kubelka once said, but the fragments of each frame that could compose what we see on the screen. It’s the meticulous exploration of the Bolex that allowed Lowder to understand that what we call reality is in fact much more interesting projected on a screen than perceived by the naked eye.

    Even if Lowder used to weave her films frame by frame, on other occasions she also exposed the roll continuously. By only changing the framing and the focal point, she avoided filming both descriptive and abstract shots in filming a river’s waterfall or a small pond inhabited by turtles. These works on “observed reality” – or its agreed upon appearance – are the result of the extreme concentration necessary to the configuration of the images that were forming during the transformation of the motifs, chosen according to the probable evolution of its parameters.

    Just like the type of emulsion chosen in accordance with its sensibility will determine the graphical qualities,  the roughness of the textures, the definition of the shapes, the volumetric components, the size of the grain or the recording and interaction possibilities (Hammen used to shoot his landscape films with a 25 ASA Kodachrome film, which allowed him to overexpose or underexpose the bright yellow colza, the dark line of trees in the background or the deep blue, saturated sky as he liked), Lowder knew that the precise selection of the focal point for each image would not only generate a change to a new “plot of the real”, but also a new framing. And that’s how Lowder, in these films shot in continuity, chooses a type of focal point just for one frame then the next focal point for various images, or returns to one that was already used, but for a different number of frames, thus modifying the composition perceived on the screen.

    Unlike our eyes, Lowder says, the camera only has one eye: reducing this difference is, therefore, necessary.

    Montage of notes elaborated from various statements by Rose Lowder and Scott Hammen:

    – «Entrevista con Rose Lowder», by Vanessa Agudo, Francisco Algarín Navarro, Celeste Araújo, Arnau Vilaró. Forthcoming in Lumière.

    – «Entrevista con Rose Lowder», by Boris Monneau. Xcèntric Cinema. Conversaciones sobre el proceso creativo y la visión fílmica. Barcelona: Terranova, 2018.

    – «Bouquets d’images», by Rose Lowder, booklet, París: Re:voir, DVD. [ESP]

    – «Donner à voir plus que ce qui est filmé. Entretien avec Rose Lowder», by Éric Thouvenel, Carole Contant. Fabriques du cinéma expérimental. París: Paris Experimental, 2014. [ESP / ITA]

    – «Entrevista con Scott Hammen», by Francisco Algarín Navarro. Forthcoming in Lumière.

    • Translated from Spanish by Stefano Miraglia & Renaud Lejosne.
      Spanish version here


    About Log Abstract by Scott Hammen:
    ESP / ITA


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  • Weekend On the Moon 2019

    On: 17 Settembre 2019
    In: Senza categoria
    Views: 0

    Nomadica – Weekend On the Moon 2019 – October 31 / November 3 2019
    Bologna, Menomale, via de’ Pepoli 1/A


    Rigorous, polymorphic, intimate, and explosive in the making: with such a drive this cinema investigates humankind and its gaze, work, existence, sense of self and the whole. The films we will be dealing with during this long weekend don’t display opinions or collect judgments, instead, they are gestures, acts: they are unknown and limitless images that generate multiple thoughts in front of the eyes that reach out and look at them, tie and untie them, and desire them (from the Latin de-sidera, “drifting apart from the stars”).
    This Cinema has nothing to do with the traditional ways of producing, it doesn’t attempt to capitalize a thing, and lives in another space of action: an essential authorial and artistic act.
    The Weekend On the Moon (WOM) refers to two celebrations: the moon landing of 1969 and – ten years prior – the starting of the exploration missions of the satellite (the first experiments on the Moon, and the first images that moved away from Earth). It is explorations we deal with, we who travel through the hidden corners of an underground cinema in continuous expansion.
    Tens of films, created in recent years and premiering in Italy, organized in a kaleidoscopic program that follows a continuous movement inside and outside of the screen, from day to night. And then, three mornings dedicated to the dissemination of thought and experience: Three ways of talking Cinema. All while immersed in a lunar Wunderkammer, the Menomale Space, the heart of the city.

    Un fare rigoroso, polimorfo, intimo ed esplosivo: con tale spinta questo cinema indaga l’uomo, il suo sguardo, il lavoro, l’esistenza, la percezione di sé, del tutto. Quelli che trattiamo in questo lungo weekend non sono film che espongono opinioni, potenziali sommatorie di giudizio, ma sono gesti, atti: sono immagini sconosciute, sconfinate, che generano pensieri molteplici di fronte agli occhi che le raggiungono e le guardano, le fanno e le disfano, che le desiderano (dal lat. de-sidera “mancanza di stelle”).
    Un cinema che non ha nulla a che fare con le modalità di produzione comuni, che non cerca di capitalizzare un bel nulla, che vive in un altro spazio d’azione: atto autoriale e artistico essenziale.
    Weekend On the Moon (WOM) fa riferimento a due ricorrenze: l’allunaggio del 1969 e, dieci anni prima, l’avvio delle missioni di esplorazione del satellite (le prime sperimentazioni sulla Luna, le prime immagini che si allontanavano dalla Terra). Di esplorazioni si tratta, per noi che viaggiamo negli angoli nascosti di un cinema sotterraneo in costante espansione.
    Decine di film realizzati negli ultimi anni, in anteprima italiana, strutturati in un programma caleidoscopico, in un movimento continuo dentro e fuori dallo schermo, dal giorno alla notte. E poi tre mattinate dedicate alla diffusione del pensiero e dell’esperienza:
    Tre modi di parlare-il-cinema. Il tutto immerso in una wunderkammer lunare, il Menomale, l’esatto cuore della città.

    Alessio Galbiati intervista Giuseppe Spina, per Rapporto Confidenziale, rivista digitale di cultura cinematografica, 14 ottobre 2019


    h 18.00 – 19.00
    Selection 1

    h 19.00 – 20.30
    WOM focus: Sky Hopinka
    h 21.30 – 23.00
    Music sounds better with you
    h 23.00 ->
    Selection 2

    h 10.30 – 13.00
    Three ways of talking Cinema #1
    breakfast with Found Footage Magazine, Revista Lumière, Walden Magazine

    h 16.30 – 18.00 🎥
    Selection 3
    Selection 4

    h 18.00 – 20.00 🎥
    Field Studies:
    Rose Lowder and Scott Hammen

    h 21.00 – 22.30
    WOM focus: Luca Ferri
    h 22.30 ->
    Dark with excessive bright

    h 10.30 – 13.00
    Three ways of talking Cinema #2
    breakfast with Luca Ferri

    h 16.30 – 18.00
    Alcatraz revisited
    h 18.00 – 19.30 🎥
    Found Footage Cinema:
    Painting with film and light

    h 19.30 – 21.00 🎥
    WOM focus: Bruno Delgado Ramo
    h 22.00 – 23.00 🎥
    Nervous twitching
    h 20.00 – 24.00 🎥
    Canti Neri
    (new version for 2-4 projectors)

    installation by WarshadFilm,
    artistic duo from UnzaLab

    h 10.30 – 13.00
    Three ways of talking Cinema #3
    breakfast with Chiara Seghetto – “Marco Melani, the man with the golden eye”

    h 16.30 – 17.30
    Between Trancendence and Immanence
    (Contemporary Turkish Exp. Films)
    h 18.00 – 19.30
    Selection 5
    h 19.30 – 20.30
    Selection 6


    Nomadica – Weekend on the Moon 2019
    is created by / with the presence of / with the programs by / and thanks to:

    Francisco Algarìn Navarro, Zeynep Ayaşlıgil, Samantha Angeloni, Mattia Biancucci, Gianna Carbonera, Rinaldo Censi, Bruno Delgado Ramo, Federico Epifanio, Cecilia Ermini, Luca Ferri, Elena Fusconi, Martin Grennberger, Yavuz Gözeller, Tommaso Isabella, Christian Kühne, Fiona Lejosne, Marco Mago Magagnoli, Cristina Martinez, Sofia Mazzaglia, Giulia Mazzone, Stefano Miraglia, Naomi Morello, Alessandro Negri, Riccardo Re, Sofia Russo, Ines Schiller, Chiara Seghetto, Giuseppe Spina, UnzaLab, César Ustarroz.

    “Aspect of an eclipse of the Sun by the Earth, as it would appear as seen from the Moon.” Illustrated by James Nasmyth, 1874.

    With films by:

    Martin Arnold, Dianna Barrie, Prantik Basu, Alessandra Beltrame, Sarah Bliss, Dan Browne, Adrián Canoura, Linda Christanell, Charlotte Clermont, Colectivo Los Ingrávidos, Helena Deda, Bruno Delgado Ramo, Théo Deliyannis, Roger Deutsch, Lena Ditte Nissen, Tiziano Doria, James Edmonds, Zachary Epcar, Alex Faoro, Laurence Favre, Pedro Ferreira, Luca Ferri, Siegfried Fruhauf, Ariana Gerstein, Miriam Gossing, Tim Grabham (aka iloobia), Brittany Gravely, Samira Guadagnuolo, Vincent Guilbert, Sinan Güldal, Scott Hammen, Sky Hopinka, Roger Horn, Lara Kamhi, Chris Kennedy, Josh Lewis, Ken Linehan, Simon Liu, Rose Lowder, Jodie Mack, Jean-Jacques Martinod, Bori Máté, Ross Meckfessel, Luján Montes, Daniel Murphy, Naz Önen, John Price, Annalisa Donatella Quagliata, Lee Ranaldo, Georges Rey, Jay Rosenblatt, Sylvia Schedelbauer, Lee Anne Schmitt, M.M. Serra, Paul Sharits, Lina Sieckmann, Guli Silberstein, Claes Söderquist, Mike Stoltz, Deborah Stratman, Malena Szlam, Richard Tuohy, Esther Urlus, Zeno van den Broek, Josh Weissbach, Steven Woloshen.


    Three ways of talking Cinema (breakfast with *) includes:
    Found Footage Magazine / Revista Lumière / Walden magazine; Luca Ferri; Chiara Seghetto (with the project dedicated to Marco Melani)


    In collaboration with:
    Menomale, UnzaLab, Revista Lumière, Magasinet Walden, Found Footage Magazine, Movimcat / The Moving Image Catalog,
    Istanbul International Experimental Film Festival, La Camera Ardente

    Special thanks to:
    Lightcone, Sixpackfilm, The Film-Makers’ Cooperative

    The moon, by Henry Draper (1863)

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