http://hdl.handle.net/2436/23412 Sun, 19 May 2013 20:28:23 GMT 2013-05-19T20:28:23Z http://hdl.handle.net/2436/38789 Title: The Train Films Authors: Sherwin, Guy Abstract: The work develops the possibility of film as performance, specifically the live interplay of multiple projectors with the artist as performer. Its content forms part of a wider investigation by the artist into rhythmic spatial movement across multiple screens and the temporal and spatial illusions this creates. Overall, the work’s radical import is to prioritise film as a multi-faceted, open-ended system. The work builds on structural film of the 70s and the renewal of interest in “expanded cinema” (Dortmund, 2004). Several aspects of space and of movements between spaces are considered. For example the three-screen film “Camden Road Station” 2004 involves interaction between the profilmic space (of the station itself) the implied space created by the three projectors (overlapping, adjacent, stacked) and the physical space of the venue onto which the images are projected (the arched brick wall at Voutes). Sun, 01 Jan 2006 00:00:00 GMT http://hdl.handle.net/2436/38789 2006-01-01T00:00:00Z http://hdl.handle.net/2436/38793 Title: Views From Home and Views from Home Reviewed Authors: Sherwin, Guy Abstract: A 10 minute digital videotape exhibited as part of “Guy Sherwin: Re-Enactments” at the Evolution Festival. “Views from Home” addresses the aesthetic question of whether it is possible to successfully integrate an ambient music track (recordings made in the film’s urban neighbourhood) with time-lapse film recordings, since they would seem to occupy mutually exclusive ‘time frames’. The works forms part of Sherwin’s long-term investigation into sound/image relations. Initially influenced by Kubelka and others, the recent research has widened the field of enquiry to include digital technologies augmented by live performance. The work makes use of digital editing to adjust lengths of time-lapse shots to either match or counterpoint rhythms in the soundtrack. The later work “Views...Reviewed” involved a radical re-edit, effectively breaking up the work and allowing space for the musician’s live interaction, allowing opportunities for the performer to move around and even outside the performance space. Sun, 01 Jan 2006 00:00:00 GMT http://hdl.handle.net/2436/38793 2006-01-01T00:00:00Z http://hdl.handle.net/2436/38788 Title: bdpq / Vowels & Consonants Authors: Sherwin, Guy Abstract: The work developed from Sherwin’s successful AHRB application of 2003/4 to investigate if 16mm film can be successfully adapted for presentation in the gallery. “bdpq” questions the practical and aesthetic considerations of using a printing machine as projector within a gallery space, and asks if these indicators of geometry can be viewed as the aesthetic core of the artwork. “Vowels & Consonants” asks: what is the character of optical sound that can be generated directly from the physical shapes of letters? How does that sound relate to the sounds we associate with those letterforms? The work investigates chance at many levels. The letterforms b,d,p,q, were generated on a computer and printed onto raw 16mm film without a camera. Looped projection enabled an improvisatory form of projection facilitating live interaction with musicians. Effectively turn the process of film projection into an audio / visual art-form that can interact effectively with live music performance. Sat, 01 Jan 2005 00:00:00 GMT http://hdl.handle.net/2436/38788 2005-01-01T00:00:00Z http://hdl.handle.net/2436/38787 Title: Guy Sherwin: Live Cinema: Retrospective Screenings Authors: Sherwin, Guy Abstract: Curated by Sherwin, this is a series of live film performances in a retrospective programme of multi-projection works, some produced between 2001-2007; others reworked from films made in the seventies. The series addresses questions of moving-image art as performance or ‘live cinema’. What are the possibilities of exhibiting film as live performance? What are the specific analogue qualities of 16mm film that can contribute to a vibrant moving-image aesthetic in a digital era? The work builds on Sherwin’s 35 year history of investigation into the material properties of film, exhibition and interpretation. Informing the practice are the film works of Snow, Conrad, the LFMC, theories of Cognitive Psychology (Arnheim 1974), Structural Film (LeGrice 1975), Phenomenology (Hamlyn 2003). The primary research method is the process of exhibition itself. Films works are adapted to the space, time-allowance, and the wider curatorial context, resulting in unique programmes. The works focus attention on projection-as-event through the interrelationships between projector, screen and projectionists as performers of their instruments. Sun, 01 Jan 2006 00:00:00 GMT http://hdl.handle.net/2436/38787 2006-01-01T00:00:00Z