live remotes and screens

 this show that i saw last week - a remarkable use of live video and screens. the actor - madeline best - (who is also a dancer, though doesn't here)  is behind the screen and on the other side of the screen are two little cameras that follow her remotely - there's also a white curtain behind her which also funcitons as a screen and played a time delayed image - the two cameras apparnetly followed her by some kind of remote ability -- and i thought some version of this might work for us.

http://www.chocolatefactorytheater.org/e_selectivememory_2010.html

The Chocolate Factory - Selective Memory (in progress)

February 11-13, 2010 8PM

video still | Madeline Best and Brian Rogers A real time video performance about nostalgia for relationships that never took place, events which never happened; the soundtrack to a film which was never made, but which everyone remembers; exploiting the misappropriation of "real" sounds and images to confound, distort, remake and ultimately erase the truth. Inspired by William Eggleston's video pieces, especially Stranded in Canton, and the processed ambient music of Christian Fennesz and Stars of the Lid - in which the source material and instrumentation used to create the music is processed and recontextualized to the point of near impenetrability - music which feels as if it comes from nothing and is about nothing but around which a certain undeniable poignancy settles like fog.

Created by

Madeline Best

Chloe Z. Brown

Maggie Dick

Brad Kisicki

Sheila Lewandowski

Brian Rogers is i believe the main person behind this. he operated the cameras and computers live.

Sophie Hindenberger

don't look now

don't look now - directed by the great nicholas roeg, 1973 - is one of those movies i call pre-multichannel, because of its fracturing, its nonlinearity, and most especially its use of mirrors, reflections, broken glass and water that create such a perfect in-the-world-of-the-movie multi-image universe.
it's a quite brilliant film, seemingly forgotten for no good reason at all. and its use of sound is absolutely magnificent. and of course one of the great, great films ever set in Venice.

it is that rare thing, horror poetry -- which hitchcock is too, underneath it all, though less obviously. Don't Look Now's ending is completely terrifying without making any logical sense at all: a purely visual horror, at its penultimate scenes, and purely visual suspense all along. just brilliant.

and it contains, of course, one of the truly great, erotic and utterly believeable love scenes between a married couple -- or any couple - ever put on film: tenderness and flicking tongues and quivering hands, impossibly and perfectly intertwined with the before and after of lovemaking as adroitly as the couple themselves twine together on their rumpled hotel sheets.

just a remarkable film. i can't think what made me suddenly need to see it, after all these years -- oh yes, it was happening acrss the BFI guide to it, a slim little volume as they all are, and much as the writer - Mark Sanderson - also loves the film, he can scarcely do justice to this aspect of it, its multiness, since he does not, of course (no one does) have the lens of looking for multiplicity in visual narrative that this film so wildly, even brazenly, utilizes. A forgotten masterpiece.

Roeg, of course, would go on to do the great literally multichannel wall of TVS in 'The Man Who Fell To Earth" - but more on that later.

stamps r multi

stamps - happened on them looking for the old accurate envelope sign that used to grace houston & lafayette - the wall which is now covered by the infamously stylish soft porn of Calvin Klein ads.

this from the site encore ephemera

nice transitions on this border project photo gallery

http://www.borderfilmproject.com/en/photo-gallery/

iv'e been wanting to work with more jagged, ragged intersections of separate images - haven't seen this transition yet, have to hunt around for it, i guess. much better than the usual wipes in, say, iphoto.

although i was astonished to discover that Iphone has a mosaic function in its screen saver which makes a chuck close-like photograph out of the bits and pieces of all of one's other photographs.

there are also some nice multichannel transitions in Iphoto using oxes - i.e. creating grids- both large adn small.

not sure how to put those up here at the moment, though. will have to take some screengrabs, i think. TK

and what's this?

this came up as i was searching for split screen.us - no idea who this even is...
http://jamessime.com/jock/FERRO/bullit.jpg.