The Galilean Satellites: Europa

This is the first in a four-part series of films dedicated to legendary filmmaker and friend, Stan Brakhage. It is also dedicated to a group of filmmakers with whom I shared orbit around the massive scope of Brakhage's work.

This has been the "audience favorite" of my works so far- at least, it has traveled around the world to all sorts of festivals and gotten great feedback (though the New York Times called it both one of the "most ambitious" films in its program as well as "relentlessly abstract." I'm not quite sure how to take the latter, but every artist knows that "ambitious" feels like a blow-off. I digress...)

As such, I am a bit reluctant to post it online, where it will be seen at 1/100th of its intended size, with resampled sound and dropped frames. Still, I'm reaching out into the volgosphere! It will be traveling around the country soon, so perhaps it might inspire a few souls to go see it when it comes to town (more details as they become available).

It is a 16mm sound film that imagines the icy hatched-marked world of Jupiter's moon, Europa. The soundtrack consists of recordings from several probes that visited the moon (specifically, the "sounds" are coming from the atmosphere of Jupiter), as well as whale songs- an imagining of the possible life beneath the icy surface. The imagery combines hand-painted liquid crystals and Super-8mm footage from a local aquarium (hooray for (now extinct) Kodachrome).

2003 16mm, sound, color An abstract film that imagines the icy hatched-marked world of Jupiter's moon, Europa. This is the first in a four-part series dedicated to filmmaker Stan Brakhage. The soundtrack consists of recordings from several probes that visited the moon, as well as whale songs- an imagining of the possible life beneath the icy surface. The imagery combines hand-painted liquid crystals and footage from a local aquarium.

Innocence - Bjork Music Video Competition

This was my entry to the Bjork Innocence music video competition. Shot by Carl Fuermann with the assistance of Geneva Bailey in front of a homemade green screen. I worked a little bit of my liquid crystal magic into the mix.

This was a piece I did for a music video competition. Enjoy!

Snow Flukes

Next up: "Snow Flukes" I'm going a little bit out of sequence, but this was the next video that I felt like publishing. This is "Snow Flukes." I happened upon this 16mm silhouette footage several years ago. I was told that the artist who drew the cartoons was Otto Messmer (Felix the Cat) and that the skater is Dorothy Hamill, but I'm not sure. All of my searching has turned up very little on this little film.

I'm glad I have breathed some new life into it (and I always credit Otto and have never made a cent off of it- I'm really not sure if this footage ever fell into the public domain). The "psychedelic" background is shrink wrap and the skater is made of the same liquid crystal paint that went into "The Light Touch Dust Nebula" (ah, that's probably why I felt like following it with this video). I really love the fact that a paint activated by heat can be made to look like snow (note: this film is also silent):

2002- 16mm, silent, color, 1.5 min “In the evening when little Kay was at home and half undressed, he crept up onto the chair by the window and peeped out of the little hole. A few snowflakes were falling, and one of these, the biggest, remained on the edge of the window box. It grew bigger and bigger, till it became the figure of a woman dressed in the finest white gauze, which, appeared to be made of millions of starry flakes. She was delicately lovely, but all ice- glittering, dazzling ice.” -Stan Brakhage from Film Biographies (quoting from the Hans Christian Anderson Story “The Snow Queen”)

The Galilean Satellites- Callisto!

Finally! I feel so neglectful of poor little Callisto. I got my firewire cable in the mail on Monday and re-rendered Callisto last night. Callisto is the final film in The Galilean Satellites series. She is silent. This film was complete magic toward the end. I had not quite expected the results that I got, but I was awed by them.

Callisto is also one of the most heavily cratered bodies in the solar system. Jupiter's gravity attracts comets, meteoroids, and other objects and Callisto, being far away and tectonically inactive, bears thousands of years worth of battle scars. She also has the lowest density of the Galilean Satellites and it is thought that there might be an ocean beneath her rocky crust.

The imagery consists of liquid crystal paints and rubbing alcohol (like I said, magic). Enjoy:

2003 16mm, sound, color Her name is derived from “kalliste,” which means “most beautiful.” She is the most heavily cratered body in the solar system. Her quiet distance from Jupiter offers her little protection, but keeps her interior calm. This film is the fourth of a four-part series dedicated to filmmaker Stan Brakhage. The inspiration for these films come from the incredible images and sounds coming from the Galileo space probe. The four large moons of Jupiter were thought to be nothing more interesting than our own moon- barren balls of rock. As optical technology advanced, we began to get a more interesting view of these bodies. The Voyager space probes sent back images that suggested that these worlds may be highly complex. The Galileo space probe images we have received of Callisto reveals a pumice-like moon. In the tradition of its Jupiter and its moons, this moon, receives the superlative of "most heavliy cratered body in the solar system." Jupiter's gravitational attraction frequently shields us from being bombarded by comets and meteors, but poor Callisto is right in the path!

The Galilean Satellites- Ganymede

If Europa could be considered the "audience favorite" of my films, Ganymede would have to be her cute little brother. This is the third film in The Galilean Satellites series. It is quite a bit shorter than the previous two, but was easily the hardest of the series to make (easily the hardest- bad English, I know, but funny enough for me to leave it there).

The imagery is both digital and film in origin. The opening sequence of photographs consists of digital images taken by the Galileo probe that visited Jupiter recently. The film imagery is clear 16mm film leader that has been scratched, pitted, twisted and bent to refract the polarized light.

The soundtrack consists of radio signals received from the moon's ionosphere. Unlike the previous two films, however, I have not manipulated this sound in any way. In fact, you can hear Ganymede's voice on the Jet Propulsion Laboratory's page.

This film tries to capture the essence of Ganymede, who, like his sisters, is pulled and pushed by the tidal forces of Jupiter and the other moons (sibling rivalry...even the planets and Greek deities suffer from it).

2003 16mm, sound, color Ganymede is the cup-bearer of the gods. Though he shows some superficial signs of age, the protection of Jupiter and his distance from the sun keep him in a state of eternal youth- his younger, liquid self cross-hatched with a cracked and ageing skin.

The Galilean Satellites- Io

This is the second film in The Galilean Satellites series. It is an artistic study of the wrenching and twisting of Jupiter's volcanic moon, Io. This film is quite a bit longer than the others. It is also what I feel to be the "scariest" film I've ever made. The soundtrack consists of stretched and manipulated radio emissions from Io's ionosphere, while the image consists of various objects that I'm twisting and pulling in polarized light.

Io is constantly pulled and pushed upon by her sister moons and the immense gravity of Jupiter. This film probes into the beauty of turmoil. Io is the most volcanically active body in the solar system, and is actually the hottest body in the solar system, outside of the sun (which reminds me of that Groucho Marx quote: "Outside of a dog, a book is man's best friend. Inside of a dog, it's too dark to read").

Again, imagine this quite a bit bigger than it actually is. Much of my work is meant to be seen on a very large scale. I have wanted to project this particular film around an entire room as an installation.

It was originally shot on 16mm film and is a sound piece:

2003 16mm, sound, color The second film in The Galilean Satellites series which explores the terrain of Jupiter's moon Io. The soundtrack consists of recordings made by several probes that visited Io and reveals its ionosphere. The sounds are stretched and warped, along with the substances that are being filmed, to highlight Io's active techtonic life. It is the most techtonically active body in our solar system.

Ether Twist

Back on track! Now, for the next film in my one-woman show: "Ether Twist." This film has sound! It's strange and quiet, but it's there...

Sounds from very low frequency (VLF) radio emissions make up the soundtrack to this film. These sounds include aurorae, solar flares, lightning and other electromagnetic phenomena that affect the Earth's ionosphere. The imagery is composed of various pieces of transparent plastics (try to guess what some of them are- you might be surprised) whose colors are revealed through polarized light. Neither the sound nor the image would be detectable if it weren't for careful manipulation of electromagnetic waves.

Many thanks to Stephen P. McGreevy for recording the incredible VLF sounds and allowing me to use them. This is a rather large file- the film is about 10 minutes long.

Footnotes: Ether (or Aether) was once considered to be quintessence, or the "fifth element." It was thought the be the medium through which light waves (indeed, all energy) traveled. It has since been dropped from the world of scientific thought and is considered to be, well, more...ethereal (not sure if that can qualify as a pun, but it was intended). It is considered to be the unifying energy for all living spirits in Wicca and some other religions.

The film title owes its existence to lyrics in the Tori Amos song, "Suede:"

i'm sure that you've been briefed my absorption lines they are frayed and i fear my fear is greater than my faith but i walk the missionary way you always felt like suede there are days i am your twin peekaboo hiding underneath your skin jets are revving yes revving from an ether twist call me 'evil' call me 'tide is on your side' anything you want

I connected with these lyrics instantly, but really keyed in on the phrase "ether twist." The liquid crystal materials I use do a sort of "ether twist." By twisting (refracting) the direction of the light waves at different wavelengths (colors), the bland, transparent plastics become vibrant, colored light sources.

Munkphilm

"Munphilm" came to me through a dream: I had a great job working with the orcas at a monastery (yes, a monastery with killer whales- what?) I swam with them at night, which was quite frightening. I couldn't see them approaching me and suddenly, my body would lurch through the water. I would find myself tumbling through the air and plunging down to the bottom of the pool... luckily, we can do things like this in a dream and not drown!

One morning, a monk approached me. He handed me a toothbrush and told me to clean the orca pool, brush stroke by brush stroke. I took this duty and found that just as I had made a complete circle around the entirety of the pool, algae began appearing at my starting point. My day became an endless circle of the minutiae of whale care!

The monk in the dream was my friend Phil (hence the title). In this film, I try to explore yin and yang- depth, mystery and darkness interrupted by cuts of smooth, metallic vibrancy (note: you guessed it, this film is also silent - there will be sound in later films, but aren't you glad you don't have to turn the volume down at work?)

2001- 16mm, silent, color, 4 min Munkphilm explores meditation and inspiration in the cinematic medium. Carefully timed, animated fades set a rhythm that is interrupted and overlapped by moments of luminescence. These moments come and go, but in the end we are left with the original breath. For Phil.

The Light Touch Dust Nebula

As you can tell, I have been playing with the look of my blog. Please don't hesitate to leave comments if you find that it doesn't perform well for you. My second film, made as Gossamer Conglomerate's twin, is "The Light Touch Dust Nebula." Click on the image below to watch (note- this film is silent):

This film was made by applying thermotropic (changing with heat) paints to decayed film leader and filming the result before the heat of the projector lamp. The color of the paints changes from red to blue with heat. These are the same paints found in mood rings. For more information about this film, please click on the link in the title of this post.

2001- 16mm film, silent, color, 4.5 min The Light Touch Dust Nebula is a hand-painted film, optically printed with carefully controlled temperature and lighting. Thermotropic (temperature sensitive) liquid crystal paint applied to decayed film changes from red to blue with heat. In-camera optical effects expose the contrast between the two extremes. This film exposes the warmth of light and its birth to form and motion in cinema.

Gossamer Conglomerate

Now that I have my technical wires uncrossed, I plan to post one of my 16mm films here every day for the next few weeks. Although the compression looks much better than I thought it would, I do have to take a moment to say that this is not the preferred format for my films. They are best seen in their original 16mm format in a darkened theatre. Well, not all of us live near an experimental film venue, nor do we have finances at our disposal to rent film prints from places like Canyon Cinema, The Film-maker's Coop, CFMDC (Canadian films) Light Cone, or Le Collectif Jeune Cinéma (though you can click on any of these if you do- they have many great films in their collections). I decided to make my films available online, too. You can also subscribe to my podcast (you'll need iTunes) or check out my blip.tv channel.

Okay, enough. Here is my first film, "Gossamer Conglomerate" (click the image to play- note: this film is silent):

2001- 16mm film, silent, color, 4.5 min Gossamer Conglomerate consists of hand-manipulated material, optically printed under closely controlled and monitored lighting situations. The film explores the delicate nature of film by placing the fluttering colors of “fresh” film materials upon a colorless base of film destroyed by the molecular breakdown associated with “vinegar syndrome.” The film represents the life cycle of film and its rebirth as a new and personal work and is suggestive of a butterfly’s flight from the darkness of the chrysalis.