Tuesday December 2, 2008, 8:00 pm
At the Silent Movie Theater
611 N. Fairfax Ave. just south of Melrose
Park across the street (free) at Fairfax High School
Los Angeles Filmforum, in conjunction with mad-actions, iotaCenter and Cinefamily, presents
Punto y Raya (Dot and Line) Festival
Curator Noel Palazzo in person, plus filmmakers Chris Casady, Danielle Ye, and Joaquin Kino Gil.
Tickets for this special event are $12, Filmforum members will be admitted for $8
**NOTE THE CHANGE IN TIME, LOCATION, AND PRICE**
The Punto y Raya (Dot and Line) festival is the brainchild of Barcelona-based group mad-actions. The program has a clear curatorial vision – that of pure abstraction in its most basic form, to “reveal the limitations and achievements of our representation systems.” Submission requirements are very specific regarding the use of dimension, perspective, volume and color. The result is a series of films “built up entirely from dots and lines as ends in themselves.”
The touring program will feature both finalists and award-winning films from the official competition; thirteen films with a total running time of 65 minutes. For tonight’s program only, we will also screen 16mm prints of two classic dot and line films; Shapes and Gestures (1976) [left] by Jules Engel and Two Space (1979) by Larry Cuba. Prints courtesy of the iotaCenter.
Circle by Laurie Gibbs (2006, 3:14) A visual exploration of the construction and potential of a circle. The soundtrack features an originally recorded and crafted soundscape of tactile sounds to root the visuals.
Rayas Blancas y Rojas (White and Red Lines) by Calpurnio (2007, 5:00) Experimental video of total abstraction. Colour lines surf the screen at high speed. Entirely realized with a computer and edited in FinalCut. The soundtrack features Dave Clarke’s “I want it”.
Symmetry by Aleksandra Dulic and Kenneth Newby (2007, 2:00) Symmetry is an animated film composed of visual representations of individual sounds that reflect the structure of the music through shape, movement and colour. It is a hybridisation of several traditions — English bell ringing tradition, the music of the gamelan orchestras of Java and the contemporary electro acoustic composition. Each of the film’s six tones has its own unique visual character that is comprised of a distinct shape, colour, movement and spatial arrangement. The music was composed and performed by Kenneth Newby.
Mecanismo by Joaquin [Kino] Gil (2007, 5:00) Mecanismo is an extreme experiment in the use of very simple looping images and sounds to produce complex but basically abstract combinations that play with the pattern-recognition efforts of the brain. It is at the same time an exploration on abstract images and sounds and also on the following of those associations, planned or not, that the composition/animation process evokes in the creator, so it is method and result and art piece and social comment. The soundtrack was created by the animator with sound loops as part of the animation/composition process.
Esmolades (Sharp) by Albert Callejo Amat (2007, 4:40) A somewhat chaotic melody with frequent timbrical changes that defy rhythm. The author uses the digital-analogic synthesis of sound, the live visualization of sound in an oscilloscope and then, the sequentiation of notes and improvisation of synthesis parameters. Audio and video were recording with a miniDV camera in front of the oscilloscope. The soundtrack was designed by the author himself.
TaMura (MuraTa) by Katsuyuki Hattori (2005-07, 8:00) SIGN: In the creation of moving images, one’s job is not to write signs/words in a sequence, but to colour a wall with a sequence of lights.
LIVE: Video generates live images by means of electronic signals. However, almost all moving images are the offspring of film medium.
SIGNAL: Video is a signal translated into light that can be used for a dialogue, as you can reflect light on a mirror. The video dialogue creates rhythms of lights composed into scenes.
NOISE: Of course, a noise is considered as a signal as well.
Loop 12/06 by Astrid Hagenguth (2007, 4:00) Soundtrack and moving images are equal parts in this film. They develop a quite loose relation and, as the film progresses, they get more synchronous. Inspired on Steve Reich’s work, Hagenguth and soundtrack designer Dennis Graef, used visual and musical loops of different lengths. Thus, the viewer may find different connections. This work was produced in a two-way process: first there were the pictures, then came the music, and finally, the editing.
Puddle Jumper by Chris Casady (2007, 2:10) A very funny and suggestive animation made in Flash. Soundtrack by John Bungle and Chris Casady.
Study for TestTest and Retinal Burn by Thomas Bey and William Bailey (2007, 4:34) Many of the visuals from this piece are built using software which interprets an audio signal and then converts it to a stroboscopic set of visuals. These visuals were originally too patterned for the author, so he used a “wave generator” filter to modify the results. Bailey has restricted himself to a colour scheme almost exclusively associated with “punk rock” subculture. This piece is a kind of test / challenge for the audience: will they notice the cultural hints right away, or will they be able to ignore them and ascribe their own meaning? This piece asks which is more important: identification with a cultural tribe, or personal, individual immersion in pure sight and sound. The soundtrack was also designed by Bailey.
Velocity by Iconish and Foraudiofans (2002, 6:20) The same enigmatic landscape in different moments generates a visual equalizer. The author uses the errors in the texture mapping and the digital composition shifting in time. The soundtrack features “Velocity” by Foraudiofans: Javier Navinés and Andreas Frey.
Asperity by Tom Jobbins (2007, 1:58) The author’s goal was to make a visually stunning sound piece using only the instrument as imagery. Soundtrack designed by Bruno Gabiro.
Mercurius by Bret Battey (2005, 6:10) Mercurius expands algorithmic animation techniques developed by the author himself; both the audio and visual components have no cuts or edits. What we hear is a continual transformation of one synthesis process, just as what we see is the continuous animation of nearly 12000 individual points. Traditionally the spiral or mandala form has been used to evoke the unity of a meditative state, but the spiral has symbolic associations not only with unity or creative energy but also with destructive forces. Mercurius ambiguously combines multiple sensibilities of the spiral. If there is a unity here, it expresses itself only over time as a single process exhibits rapid changes between a multitude of seemingly-conflicting states.
Punto y Raya was conceived by the group mad-actions, which was founded by Ana Santos and Nöel Palazzo. Ana works as a freelance art-director and web designer. Nöel works as a screenwriter of feature-films and animation serials. She also writes juvenile narrative and various articles on cinema culture. Occasionally, she directs experimental films and lectures on diverse topics regarding cinema.
The west coast tour of Punto y Raya was coordinated in conjunction with the iotaCenter, a public benefit arts organization devoted to Abstract Cinema and Visual Music. iota is dedicated to preserving, promoting and uniting the dynamic world of visual music through our various programs: research, publication, preservation, exhibition and distribution. They plan and promote local and touring exhibitions, maintain a research and study center with archival materials, articles and books, and carry out preservation projects on films in their collection.