TDTKs January 2010


From the projector as ray gun colour attack weapon to universal mendalas produced by elementary computers, this programme concerns itself with the effect of pure abstraction, sound, colour, and the emotion of geometry. We finish with the 1999 cinemascope masterpiece “#11”, by dutch filmmaker Joost Rekveld. You do not want to miss this.

Ray Gun Virus            Paul Sharits  (US,16mm, 1966, 14mins)

‘light-color energy patterns (analogies of neural transmission systems) generate internal color-time shape and allow the viewer to become aware of the electrical-chemical functionings of his/her own nervous system’ .

Allures                                    Jordan Belson  (US,16mm film, 1961, 7mins)

Spiritualist Belson wrote the score for this visual tone poem, carefully-prepared interference patterns create complex and  incredible mind-altering visuals.

Yantra                                    James Whitney (US,16mm film, 1958, 8mins)

James worked on Yantra for about eight years (1950-58), meticulously painting the patterns of pin-point dots on paper cards, and hand developing and solarizing much of the footage.

Lapis                                    James Whitney  (US,16mm film, 1963,10mins)

Lapis was executed in three years (1963-6) imagery is completely, conscientiously devoted to centric, circular patterns (like yantra-mandalas). Jungian psychology, alchemy, yoga, Tao, and Krishnamurti heavily influenced Whitney’s work.

#23.2 Book Of Mirrors              Joost Rekveld  (NL,35mm film, 12 min, 2002)

#23.2 Book of Mirrors deals with the multiplication of light beams through mirrors and kaleidoscopes. The structure of the film has been developed with composer Rozalie Hirs who wrote the music for it. The composition is based on symmetries and inversions of proportions and gestures throughout the film.

#11 (Marey <-> Moiré)               Joost Rekveld  (NL,35mm film, 21 min, 1999)

A film in which all images were generated by intermittently recording the movement of a line. It is a film about the discontinuity that lies at the heart of the film medium.