Out Iris

how i prefer to remember things

The shot’s eerily static, but the house isn’t quite right. There’s no mold in the wood, maybe it’s the bug!

CONTACT is a short documentary film directed by Jonathan Walley that chronicles the transformation of an entire skatepark into a playable musical instrument—where the skate, BMX, art, and music scenes collide. HCS has been many things: a skatepark, gallery, library, museum, and stage; but, for one weekend, Derek Nelson fabricator, activist, BMX pro, and artist, transformed his skatepark into an immersive sonic installation—part instrument, part playground—for the community of Binghamton, NY to become co‑creators in a conflagration of sound. SMALL TOWN, BIG SOUND. CONTACT reminds us of the joy in creativity, community, and the DIY spirit. Contact is about pushing boundaries, experimenting with art, and reclaiming space in an increasingly cruel, unkind, and oppressive world. It’s a poetic exploration of the creative process told by a filmmaker who calls HCS home.

The pantomime of two characters exchanging roles is accompanied by a three-layered phonogram, where sophisticated narrative text is interrupted by slightly accelerated excerpt from Brezhnev’s speeches, as well as by fragments of statements of the mentally ill person with the schizophasia symptom.

The Returning

a short letter to a girl i've loved using visuals, sounds and some words.

History as immersion and dispersion in the fragments of the past, a visionary journey accompanied by the voice of Patty Pravo. Presented at the Taormina Festival '97.

Noúres

Short experimental animation about childhood, school and mathematics based on my exercise book in second grade.

After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV. Whereas The Pain Factory predominantly revolved around experimental music performances, Fuck TV was a comprehensive and experiential audio-visual presentation. Aired to a passive and unsuspecting audience on San Francisco’s public access channel from 1997 to 1998, each episode of Fuck TV was dedicated to a specific topic, combining video collage and cut-up techniques set to a harsh electronic soundtrack. The resultant overload of processed imagery and visceral sound was unlike anything presented on television before or since. EPISODES: Yule Bible, Cults, Riots, Animals, Executions, Static, Media, Haterella (edited version), Self Annihilation Live, Electricity.

Super 8mm by Paul Clipson. Sound by Jefre Cantu Ledesma.

Film by Paul Clipson. Music by Jefre Cantu Ledesma.

Music by Jefre-Cantu Ledesma. Film by Paul Clipson with Trevor Montgomery.

An experimental film about the relation of Time and Space.

“Peter Kubelka…was teaching at Staatliche Hochschule für Bildende Künste – Städelschule (Städel) at the time. His classes, filmmaking and cooking, were very unique, and this film was made around the time I was studying with him at Städel… This is a single-shot film, moving along the passageway using a handmade dolly. I used an Arriflex 16ST camera, and I changed the filming speed from 48fps to 4-6 fps while shooting.” - Yo Ota

“The visual harmony of the landscape is disturbed by a screen that allows us to see into the distance (television). The film is composed of six scenes that feature a television in the landscape. The speed of the television (in NTSC) is 30 frames per second, and never changes in this film. But the landscape views pass at different speeds.” - Yo Ota

“The structure of human vision is the visual knowledge of the world. Individuals do not visually understand the world through the eyes, but through the brain. That is to say, human vision has been formed by knowledge and experience. The film can show a new vision, provided that the cinema is also a kind of visual experience and visual knowledge.” - Yo Ota

“One can not speak of time as a thing in itself. It is movements and variations that give the feeling of time. Men have always linked time and spatial movement.” - Yo Ota

“This film offers a metacinematic study of tempo and change and a figure of velocity. […] Ota recorded [three different locations in Tokyo] at the interval of hours, and sometimes even days, by using different filters and by alternating the camera speed. The result…represents an inquiry into the abstract space-time of cinema where Ota plays with the physical fact that time is a ‘function of movement in space.’” –Malin Wahlberg

“Sequences of space-time manipulation that raise the problem of continuity in the shot.” - Yo Ota