Nipkow TV Christian Hossner (Germany, 1998, 16 mm, 6:45)
A serious case of optical illusion: this film seems to be on infinite zoom-in, while the little spots which are barely recognizable as hikers, cars and bicyclists do not become substantially larger. It must be the regular and relatively fast succession of shots, as well as the fast alternation of positive and negative, that cause this absorbing effect.

#11, Marey <-> Moire Joost Rekveld (The Netherlands, 1999, 35 mm, 21:00)
Rekveld looks for ‘pure’ film: pictures generated by the technique when people do not intervene. Towards this end, he steeps himself in the historic origins of the medium and experiments with various mechanical set-ups. For # 11, he developed a device with which the movement of the film strip in the camera and the spinning plate in front of the light source are controlled. A spectacular play with mechanics and optics is the result.

Pocket Suzanne Deakin (GB, 1991, 16 mm, o:5o)
A pocket diary from the left overs of the day.

Démarche no. 1 Robin Dupuis (Canada, 1997, video, 4:00)
A shot is continuously repeated of a leg that comes in and out of the screen. More and more quickly, the shot is briefly frozen, which allows the consecutive stages of the motion to become visible. The fragmentation and layeredness that result recall futuristic paintings and a successful toy from about twenty years ago: a coiled spring that with one little nudge slinks down the stairs step by step.

Zillertal Jurgen Reble (Germany,’1997, 16 mm, 11:00)
An old trailer had been in the trees of a garden for months. Now and then 11 was coated with various chemicals. Through chemical disintegration and weathering the old plot of the film resolved lo a great extent. Colours emer­ged froM black and white; black areas transformed into mountaineous regions.

Salvage John Parry (GB, 1998, video, 4:15)
An animation as heterogeneous m style as this one is can easily be called postmodern. Dots, colored areas and a kind of graffiti – a typical idiom from the eighties – are followed by dancing, colored stencil figures that recall Len Lye. A psychedelic spiral slings us into the present, with samples of contemporary drawing and visuals from club culture.

What The Water Said nos. 1-3 David Gatten (USA. 1998, 16 mm, 16:00)
This film 1s the result of a collaboration between the filmmaker, the Atlantic Ocean and a crab basket. Over the course of three days in October 1997, and one day in August of 1998, Gatten inserted bits of unexposed and undeveloped film into the saltwater, sand, stones, shells and the inside of a crab trap in the breakers. The scratches and bite marks in the emulsion of the film provide not only intriguing images, but also supply the sound. The 16 mm film projector namely turns the inscriptions of the ocean along an optical path into waves of sound. What you see is what you hear.

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