En apprenant à travailler le metal, il y a 3500 ans-déjà, l’activité humaine entrait dans une nouvelle dimension. En transposant ses connaissances de chasseur à l’exploration de nouveaux alliages, elle fusionnait l’ancestrale transmission de savoir à des structures moléculaire inconnues des gens d’alors. Aujourd’hui, l’équipe du garage Rawdon Auto Suspension poursuit une demarche analogue. En se livrant corps à corps dans la reparation et la maintennce de materiel vital au fonctionnement de notre époque, elle offre à notre mémoire les qualities morales du travail sur le metal: La precision, la patiencence, la réflexion, la force, l’intelligence, la générosité.
Filter Films
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While learning to work metal, 3500 years ago, humanity entered into a new phase. While transposing its knowledge of hunting to the exploration of new alloys, it merged the ancestral transmission of knowledge to molecular structures hitherto unknown. Today, the Rawdon Car Suspension team follows an analogous path. While it devotes itself to the repair and maintenance of materials vital to the functioning of our era, it shows us the moral qualities of metalwork: precision, patience, reflection, force, intelligence and generosity.
Blue School Volume 2
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While learning to work metal, 3500 years ago, humanity entered into a new phase. While transposing its knowledge of hunting to the exploration of new alloys, it merged the ancestral transmission of knowledge to molecular structures hitherto unknown. Today, the Rawdon Car Suspension team follows an analogous path. While it devotes itself to the repair and maintenance of materials vital to the functioning of our era, it shows us the moral qualities of metalwork: precision, patience, reflection, force, intelligence and generosity.
Blue School Volume 1
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On opposite sides of the fence they drearily march. The tall leaders of each group lead with authority. Their charges, miserable, their eyes to the ground. Neither side acknowledges the other, until a chance meeting. Two stragglers from the march, one from each side of the fence, turn and face one another. One is shy, unsure. The other seeing the opportunity to make a friend presents a flower. The ice is broken, a kiss almost comes to fruition until… But can love win in a world of brutal conformity? We may see people different than ourselves – whether through race, culture or belief-living beside us, working beside us, suffering beside us and yet so often we ignore them because that is what we are taught. But they are the same as we. “Tous les Deux” tells the symbolic story of our world. Our Love. Our hate.
Tous les Deux
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The “Corpus Callosum” is a central region of tissue in the human brain which passes messages between the two hemispheres. “Corpus Callosum” the film (or tape, or projected light work) is constructed of, depicts, creates, examines, presents, consists of, and is betweens. Between beginning and ending, between natural and artificial, between fiction and fact, between hearing and seeing, between 1956 and 2002. It’s a tragi-comedy of the cinematic variables. “Corpus Callosum” juxtaposes or counterpoints a realism of normal metamorphosis (two extreme examples: pregnancy, explosions) in believable, real interior spaces with impossible shape changes (some made possible with digital animation). First the camera, then we in the audience, observes the observations of the real people depicted in the obviously staged situations. What we see and what they see is involved in shifting modes of belief. There seem to be (though there is no narrative) a Hero and Heroine. However, from scene to scene they are different people costumed identically or altered electronically. The sound electronic like the picture is also a continuous metamorphosis and as the film’s nervous system, is as important to the film as the picture. Or: the sound and the picture are two hemispheres joined by the artist. “Corpus Callosum” is resolutely artificial; it not only wants to convince, but also to be a perceived pictorial and musical phenomenon. (Michael Snow) This is structural film meets digital technology. “Corpus Callosum” uses the high-end film animation software “Houdini” developed in Canada and used in the films “The Titanic” and “Apollo 13”, the engineers won a techical Oscar for its development. This is the first usage in an experimental film.
*Corpus Callosum
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This project is envisioned as an experimental film that will seek to challenge the modern-day purveyors of culture: Hollywood and Madison Ave. The philosophical urging of this piece will be that man’s over-reaching tendencies are based on human ego, and are out of balance with the natural world. The workings of a man’s ego can bring about greatness in art and architecture, science and medicine, but can also bring about catastrophe. Willed obliviousness to impending disaster is a human flaw readily exploited by corporate culture and media. This film will challenge the 1990’s credo: “Don’t think about it, just do it!”
Sight Under Construction
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A film about cars, monster trucks, and the North American driving landscape.
Drive: automatic/standard
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“Four Corners” was shot in the U.S. in the Navajo Reservation. “Without using words or sensational imagery, this film makes a powerful statement in communicating the horror of environmental pollution” (Jury, 30th Tampere International Short Film Festival).
Four Corners
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A man loves himself so much that the perfect woman would be a female version of himself. The day he meets the woman of his dreams, he has to realise that he still has to learn the art of seduction. A six minutes dance film about frailty of human nature, the power and the weekness of dreams. Un hombre tan enamorado de sí mismo se construye la perfecta mujer, ella resulta ser su propio doble feminino. El dia que conoce a la mujer de sus sueños tiene que realizar con amargura que aún tiene que aprender el arte de seducir. Es una película de 6 minutos de baile, reflejando a través de la danza las debilidades humanas, la fuerza y la fragilidad de los sueños.
Art of Seduction, The (Die Kunst der Verführung)
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“In the tradition of Ezra Pound’s vorticism, PART 1 is a Noh drama, the exploration in minute detail of a single action and all its ramifications. The formal construction of the film, the interrelationships and significance of the images, has been woven on an extremely subtle level. Each shot appears only as an isolated piece…appreciated (as) it is understood within the context of the entire mosaic.” – P. Adams Sitney “The third movement of Brakhage’s masterwork; the extension of the bardic art into living film…images of life, regeneration… spring and early morning.” – P. Adams Sitney “The fourth and penultimate section of Brakhage’s film myth. The marriage of striving and fertility…midsummer and high noon.” – P. Adams Sitney “The fall and evening in this cycle of all history, all mankind; returning via a fall into the generative Dream of Prelude. Death, cast into the future by the question, ‘What is death like?’ is recognized as the lens through which we grasp the limitlessness of life.” – P. Adams Sitney
Dog Star Man: Part 1-4
