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"Made during my daughter’s early childhood. It’s not about her, but it’s a response to her questions about the world that implicitly challenge things we take for granted – the visual appearance of the world, ambiguities in language, the ways we communicate." – Guy Sherwin
Reflections in fish tanks in the windows of restaurants in Chinatown, San Francisco, accompanied by sounds of foghorns, passers-by, dining and breaking waves. Shot on Super 8, the images oscillate between abstraction, documentary portrait and poetry, with the fish coming in and out of focus, whilst the sound provides a grounding in the setting of San Francisco’s harbour and nearby Chinatown.
A film made without a camera in which both image and sound are the result of the same chemical process. Raw film was spooled onto a spiral and partially submerged in developer, so that only half the film is developed, leaving the trace of a time spiral in the image and (optical) sound. The film can be projected in either direction. Outwards, from the centre of the spiral, we hear a decelerating sound like someone regaining their breath. G.S.
"One of a series of films that investigates qualities of sound that can be generated directly from the image track. The images that you see are simultaneously scanned by the optical sound reader in the projector, which converts the into sound. This particular film makes use of the aural effect of visual perspective; the steeper the perspective on the railings, the closer the intervals of black and white, and the higher the frequency of sound. I also wanted to find out what freeze frames and visual strobe would 'sound' like. Visual strobe is created both in the camera (camera shutter v. railings) and in the printer (printer shutter v. slipping frames)." -G.S.
Made using a super 8 sound camera. The microphone is attached to a stick protruding from the camera, and kept just out of sight. This image-and-sound-gathering device is used to 'play' the open strings of a piano.
A hand-made film of a circular form that fluctuates in rhythms of light and sound.Cycles 1 is made by sticking paper dots onto the surface of the film and to its (optical) sound track. On projection these separate instants are converted simultaneously into picture and sound.The gaps between the dots gradually decrease until a fusion of the material occurs; the separate image-moments coalesce into a pulsating ball of light; simultaneously we hear rhythmic sounds fusing into a continuous rising drone.These transformations are taking place in our perceptual systems, for if we examine the physical strip of film, no such change is seen. Apparently we register time through our optical and our aural senses in very different ways, one chemical, the other mechanical.