async - first light

a collection of different shots comprised a fictionalized, but highly detailed of the america's west. where civilization meets nature in an illusion of history.

Calm shots of a seascape also examine optical colour mixing using various flicker effects.

A Green Ray that never features. Instead, we sense it, seeing beyond our own eyes, beyond the hills, we sense it for an instant. We are plunged into the unknowable, beyond the horizon, beyond seeing altogether. In a single, virtuoso 11 minute take, Barley takes us from lush sunsets. to beyond the green ray, and into the gloaming, into the heavy night's darkness, where we, transfixed, can do nothing but await the impending storm.

In this story set in near future, a group of young rebels, hippies and 1968 protesters want to cede and make an independent Island from the Mainland. A journalist who came to the Island to make a report about political summit that takes place there gets involved in the clash between young rebels and establishment.

A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.

Elaborate petal-like and multicolored flowers rising in white space until the whole field is as if crushed by floral designs in madly-swift mixtures of every conceivable previous shape from the Persian Series. Preserved by the Academy Film Archive in 2013.

Animation, also of a new order in the recent series of short works. Mostly on black space, the figures in blue perform a very compact and jewel-like opera in surreal form, again to Satie’s piano music. Ideally, the film should be projected on a 30" wide white card sitting on a music stand, center stage of a large auditorium or music hall, with sound from the projector piped into the big speaker system. The film is most effective this way, but can be shown normal-size also

The Possible Fog of Heaven is a consideration of the dimensionality of metaphysics and the metaphysics of dimensionality. Elvis speaks for the first time from the afterlife, describing in voice over and graphic text, his experience in Heaven. The Structure of the tape follows the King’s last prescription.

To forget about the end of a relationship, a woman fantasizes about an ideal one. Fantasy and reality begin to melt into one another, but the past finds a way to rear its head again. Films used: Notorious (1946) Gaslight (1944)

The Dreamer That Remains is a documentary produced by Betty Freeman and directed by Stephen Pouliot in 1972. Here is the director’s original cut along with his commentary. If you’ve never seen Partch or his instruments before, this is the place to start.

A recollection of almost 40 years of career. A giant image-jukebox, from early 70s autoportrait to films for Alain Bashung / Elli Medeiros, private karaokes to “video sculptures” applied to John Travolta or Maria Callas, and much much more…

Originally edited in two versions. Version I, 70 minutes; version II, 90 minutes. (The only known existing version is not Markopoulos’s edit and contains additional titles, music and voice-over added later than 1961. 65 minutes.) Filmed in Mytilene and Annavysos, Greece, 1958. Existing copy on video, J. and M. Paris Films, Athens.

(A)lter (A)ction, 1968. Videotape, black-and-white, sound; 65 minutes (director's edit: 57 minute television version).

O suprematismo. Mayakovsky Square.

Avant-garde composer John Cage is famous for his experimental pieces and "chance music" but temporarily branched into video in 1992 with this art film about meaningless activity. The work is composed of two segments that are supposed to be played simultaneously: "One 11" contains the artistic statement, and "103" is a 17-part orchestral piece. Also included is a revealing documentary about Cage and director Henning Lohner.

Vast horizons and hollow landscapes. Figures in funeral gowns swaying from reality. Withering within without wunnienuther, we wandered windswept as heartswept.

A young man recalls different moments of his life, reflecting the preservation of memory, the enigma of time and the inevitability of death

A collection of interwoven images are threaded together by a string of unspecified women who roam their dreamscape which they are unable to escape. They are displaced, belonging to no particular point in time or place, and a disoriented sense of self pervades. Together, the film becomes a quietly throbbing organism of reality and unreality, and the gaps between an impending present and a perpetual past are frail.

Born in Los Angeles but a New Yorker by choice, Barbara Hammer is a whole genre unto herself. Her pioneering 1974 short film Dyketactics, a four-minute, hippie wonder consisting of frolicking naked women in the countryside, broke new ground for its exploration of lesbian identity, desire and aesthetic. (from bfi.org.uk)

Chapter Two represents a continuation of daily observations from the environment of Manhattan compiled over a period from 1980-1981. This is the second part of an extended life's portrait of New York.