Around 4pm on Wednesday 25th August at Winchester School of Art Library 2, a slim slither of vinyl will be exhumed from between the hardbacks on the library shelf and placed on the platter of a portable turntable. Silence on Loan is an artist book published in the form of a 10″ vinyl dubplate, cut with a silent groove. [re]Turning at 33 revolutions per minute, silence will ‘play’ for just over 9 minutes and the performance will then be over.
This year the ‘performance’ will be prefaced by a short reading from a new essay discussing silence and listening as participation. The full essay, titled, ‘Withdrawn from use: Silence, listening and undoing, will be published in the forthcoming issue of Organised Sound (26/02).
As has become my habit, the performance will begin by rewinding the cassette recording of last years ‘event’, so that it might be taped over and erased (unplayed and unheard) by this year’s recording. Once silence is done, the tape player is stopped, the cassette put in its case and silence quietly returned to its position on the shelf at 741.64HEG.
Postponed due to Covid, the annual performance of Silence on Loan is free to attend, and this year will also be available live and socially distanced via Instagram: @sebastiane_hegarty
Thanks to Catherine Polly and all at WSA Library for their help and support.
a new work for framework: afield. Broadcast on Resonance FM Sunday 13.06.21 11:00-12:00. Listen live via Resonance FM
three horizons, a new work for framework: afield, will be aired on Resonance 104.4fm (London) this Sunday (13.06.21). The programme will subsequently be broadcast on a number of radio stations world-wide and also be available to hear on the framework radiowebsite.
Curated and hosted by Patrick McGinley, framework is a radio programme and listening community that has been broadcasting on the resonance 104.4fm since 2002. The show now airs on twelve radio stations around the world, with editions, streams and podcasts available from the framework website. ‘Consecrated to field recording and its use in composition’ framework acts as a creative frequency ‘a folk-tool in a new folk movement, a community driven exchange point for creators and listeners alike.’ The show operates in two formats, a regular edition curated and produced by Patrick, and framework:afield, ‘a guest-curated series produced by artists from all corners of the globe and based on their own themes, concepts or recordings.’ As an artist interested in the perceptual geographies of sound and listening, I began to tune in around 2005. In 2007, Patrick very kindly aired the 2nd edition of my collaborative project, mo[nu]ment – a 7” vinyl record of the silence held in memory of the Indian Ocean, earthquake, and Tsunami in 2004 (crudely recorded from my bedroom window in Winchester), which framework listeners were invited to re-record directly from the framework broadcast.
My sound-works have been included in several editions of framework since then – my mam recorded an intro for the show around 2006. But this year is the first time I have contributed to framework: afield. The new sound work is called three horizons andis based on my ongoing series of covert micro-FM transmissions at locations along the southerly listening coast. These transmissions began in 2017 with the first of two unofficial, covert residencies at the Lizard Wireless Telegraphy Station, Cornwall, where in 1901, the first wireless radio signal, sent by Marconi from his ‘experimental station’ at Knowles Farm on the Isle of Wight. Not only was this the furthest a wireless signal had travelled at that time, it was also the first ‘over-the horizon’ transmission. Prior to this, it was believed that ‘the operating range of wireless would be restricted to the [optical] horizon.’ But on the 23rd of January 1901, in what became known as ‘Marconi’s first great miracle’ the arrival of three dots, a simple dit-dit-dit, at The Lizard Wireless Station, signalled not only the letter ‘s’, but also an escape from the visible and concrete, a flight from the material into the airy immaterial and unknown.Isolated and remote, the Lizard Wireless Station is on the very periphery of the terrestrial. When the rain comes down and the fog comes in the horizon evaporates. At night everywhere disappears. Each residence concluded with a live micro-FM transmission: Tuned in through an array of portable radios, the broadcasts were based on field-recordings made in a local landscape haunted by the architectural and archeological remains of communication and listening technology.
Although based on field recordings the residencies began to bring sounds into the landscape, not only through transmission, but also in the fields of sound recorded. These fields include sounds hidden from audition and unavailable to human ears: the muted harmonic hum of antenna and automatic Morse of loose wires. But they also include instruments and technologies that might contribute to, and compose with the landscape. The air harp, a second-hand autoharp, prepared with the flotsam of things found and discarded, conspires to pluck voices from thin air, whilst the litho-telegraphy of pebbles collected from the localities of transmission, and used to tap out the dit-dit-dit of Marconi’s test signal. This geological intelligence tests substance and briefly brings into presence the absences of landscape. Sounding out and listening in, on abandoned radar rooms, the cracked silence of sound mirrors, and redacted subterranean hollows of cold war surveillance. On the Isle of Wight this palpitating tap, transmits the extinguished light of a 14th century lighthouse, once attached to St Catherine’s Oratory, whilst the rap of a pebble on the remains of a concrete base, lurking in the field behind Knowles Farm, summons forth the lost signals of Marconi’s transmission mast1.
The micro-FM transmitter has little power, and the signal is so weak that no one can tune into to hear. I am broadcasting to no one, and no one is listening. For Framework afield, I have re-composed three horizons from the four broadcasts. Appearing in reverse chronological order each horizon corresponds with the three sites of transmission, remembering signals received and sent through the landscapes of the Isle of Wight, Dungeness and Lizard peninsular. Beginning with extracts from this year’s micro-transmission from the room at Knowles Farm where Marconi had conducted his early wireless experiments, the first horizon appeared with the misplaced bellow of Lizard Lighthouse foghorn. In the original Knowles broadcast, I used this acoustic beacon as a focal point, to locate the broadcast frequency and tune in through an array of radios dispersed into the landscape of the room.
The sound of the foghorn is a lonely voice, in a lonely place, which seems to empty the landscape where it appears. In her fascinating recent book, The Foghorn’s Lament, Jennifer Lucy Allen, refers to Ray Bradbury’s ‘evocative and florid description of the foghorn’ as: ‘a voice that is like an empty bed beside you all night long, and like an empty house when you open the door and like trees in autumn with no leaves.’2 The audible hinge of a door opening into the first of horizon, welcomes in the empty loneliness of the misplaced Lizard foghorn, here haunted by the absent voice of the St Catherine’s Lighthouse foghorn, an instrument visible through the room’s window, but whose signal, ‘discontinued’ in 1987, remains now unheard3.
The three horizons are haunted by the apparition of places unseen and sounds unheard: on the Isle of Wight, at a disused radar station, rain taps catastrophic messages into the water of a cattle trough, beneath which lies the abandoned secret of a cold war listening station. Whilst in roughs above Hythe near Dungeness, a crumbling sound mirror, tapped out into presence, keeps an ear out, for sounds yet to arrive.
The Lizard foghorn looms and lows over the horizons, returning to close the second horizon, it opens the third in a brief characterful4 duet with the three electronic beeps of the Dungeness fog signal. This final horizon disappears in an echoic flutter of geological telegraphy, as pebbles tap out the acoustics of a derelict World War 2 radar room, and the Lizard foghorn returns to signal absence. Lost in an empty sea, this sonic beacon keeps vigil, calling out for a response that never comes. And in this lonely [depressive] position, sound remains, pining for the lost, forgotten, and unheard.
I would like to thank the dance artist, Julia Hall for her creative participation, choreographed telegraphy and critical ear. I wold also like to thank Patrick for providing this opportunity and his relentless commitment to field-recording and the listening community.
Post transmission at Knowles Farm, Isle of Wight, May 2021.
three horizons will be broadcast on framework: afield on Sunday 13.06.21 from 11:00-12:00. You can listen live via Resonance FM
You can also listen again via the frameworkwebsite
framework always needs support to continue its commitment to field recording audio. You can help by becoming a patron via: patreon.com
The wooden mast was rumoured to have been sold, cut and appropraitely repurposed as a ladder.
Allen, J.L. 2021. The Foghorn’s Lament. London: White Rabbit
The St Catherine’s Lighthouse foghorn has had several voices. In 1948, Aubrey de Selincourt, described its changing tones : ‘[…] formerly it was a sick bull’s iterated bellow; now it’s a ghoul-groan ending in a grunt.’ A sound he ‘bears’ because he ‘cannot forget the ships and the men on them … listening.’ Aubrey de Selincourt. 1948. Vision of England: Isle of Wight. London: Paul Elek Publishers.
Every foghorn signal, like every lighthouse beam is designed with a distinctive ‘character’, which enables it to be identified as belonging to a specific place. In fog signals this code is, the number of blasts and silent periods in each minute. The character of the Dungeness foghorn echoes Marconi’s test signal, with a succession of three quick blasts.
I am delighted to announce that two new works for radio will be broadcast as part of Radiophrenia 2017, which begins broadcasting at midnight on Monday 6th November. Radiophrenia is a ‘temporary art radio station, offering a two-week exploration of sound and transmission arts. Broadcasting live from Glasgow’s Centre for Contemporary Arts on 87.9FM, the station aims to promote radio as an art form, encouraging challenging and radical new approaches to the medium.’ Radiophrenia will also be available online.
The two works will be broadcast on the 8th and 9th of November and the full Radiophrenia schedule is available here.
Tappng the air: a wireless ecology of the Lizard Peninsula.
Radiophrenia: 09/11/17 | 09:30 – 10:00
Wireless, the air receives us: ‘scattered souls, in expected or else irremediable exile from matter…’ (Gaston Bachelard).
In the summer of 2017 I took a holiday and covert residence at The Lizard Wireless Telegraphy Station; built by Marconi in 1900 and site of the first ‘over-the-horizon’ wireless communication. Prior to this, it was thought that wireless communication was restricted to the optical horizon, there had to be a ‘direct line of sight’ between transmitter and receiver.
The ‘residency’ concluded in a live micro FM transmission to an audience of one, in what once was the ‘operating room’ of the wireless station. Broadcasting through six radios the performed transmission was based on field-recordings from a local landscape haunted by the architecture of listening and communication: the looming pulse of the Lizard Lighthouse foghorn, the automatic Morse of loose wires and antennas at Poldhu (site of the first trans-Atlantic wireless transmission), the perimeter hum of wire fences that surround the galactic ear of Goonhilly Satellite Earth Station and the abandoned listening-in of RAF Dry Tree.
The piece opens and concludes with the di-di-dit, of Marconi’s test signal, tapping away at the surface of the Wireless Telegraphy Station, a signal answered by the ethereal tap of another letter ‘s’ as performed on the nearby walls of a derelict radar room at RAF Pen Oliver.
the silence of nostalghia Radiophrenia: 08/11/17 | 12:00 – 13:00
One part of a trilogy of silenced films, in the silence of nostalghia, all dialogue and non-diegetic sound has been removed from Andrei Tarkovsky’s 1983 film Nostalghia.
The silence that survives pulls the background into focus, concentrating the attention of the ear on the sonic details of an emerging landscape, wet with the revenants of footfall, entrance and exit. The textures of optical-sound silence, reminiscent of the atmospheric leaks and spillages of radio transmission, amplify the spectral and oneiric qualities of a soundscape where apparitions of place and time seem to appear, disappear, dissolve and fragment.
In June of this year I completed a sound piece for the BBC Radio 3 series Between the Ears. The programme called, It’s just where I put my words, was a kind of audio memoir or reverie of my mother’s voice, which I have been recording for over four decades. The piece explored not only my personal relationship with my mother’s voice , but also the wider issues of our desire to record and the particular qualities of voice as distinct from photographic records. A review of the programme appeared in The Independent and Spectator.
Produced in Bristol by Chris Ledgard, the programme was available for a week via the Listen Again feature of the BBC Radio 3 website. Now no longer available, I thought it might be interesting to post the piece in its ‘original’ form: that is, an audio collage or soundscape of voice and a script written for speaking. This will enable the listener to place the words with the recorded soundscape in their own time. I have divided the soundscape and script into four sections and added some imagery to locate these sections. I have also, where appropriate, included links to my website so that you may hear full versions of sound works, which are used in extract during the piece.
It’s just where I put my words: a voice remembered
BBC Radio 3 / Producer Chris Ledgard
Part one: our last recording
In September 2010, I made what was to be the last recording of my mother’s voice. Placing a digital recorder by her chair in the residential home where she spent her last year, I pressed record and released pause. We sat and chatted and sorted through her things. I searched the pockets of her beloved trolley, looking for her purse, which, like her spectacles and teeth, was always going missing.
Following a series of falls in her sheltered flat in Bootle, Liverpool, Mam came to live closer to me in a residential home in Hampshire. She never believed the care home to be her home; she was confused about where she was and why she was there. But the act of recording was familiar, something we had done together for more than 40 years.
Part two: Bellevue and Barthes
Our first recording was made on in the late nineteen sixties on Liverpool Lime Street station. My brother was ten and I was seven, and on the way back from a visit to Auntie Dot in Manchester, my mother treated us to a session in a coin operated record booth.
The audiocassette was yet to reach the outskirts of Liverpool, so these machines, which once loitered in the lonely, suspended landscapes of train stations, promised an almost cinematic experience: we could record our selves, hear our voice on vinyl.
As an artist, recording continues to inform my practice, and I collect, catalogue and experiment with sounds, editing and mixing them together to create audio works and soundscapes for installations, performances and radio. I am fascinated by how the simple, private act of recording can capture fleeting, unimportant moments and mark them with significance: just as two-minutes in a drafty coin operated booth, is marked, for me, as the start of a lifelong obsession with sound and phonography; it’s also the beginning of my story of recording with my mother; a story which concluded at 17.05 on the 18th September 2010, when, in a care home near Winchester, recording invented our last moment.
Many of the recordings I made with mam had no specific purpose, recording was a just a habit; something I always did. At other times they were intended as source material for my artwork and I would arrive at mam’s door encumbered by an array of digital recorders, microphones and the occasionally defunct tape player.
My mother was a Lancashire lass, born and brought up in Manchester. My dad was an Irish Catholic. He joined the army when he was 16 and spent the 2nd World War in the German prison camp Stalag 3D. After the war and a brief stop on Manchester buses, where he met my mother, he became a prison officer at Stangeways and later Walton in Liverpool.
The sound work BelleVue includes extracts from a reel-to-reel tape of my mother telling stories of her nights out as a teenager at a large entertainment park near Manchester. This voice is accompanied by a covert recording of her getting ready to go out some sixty-years later at the age of eighty. The stories are fragmented and layered, disrupting the narrative, yet revealing that in her voice there remains something which is essentially her, something beyond the story told. I later re-played this piece to my mother and recorded her response. Although she recognises fragments of the stories told, she didn’t recognise the voice telling them. But finding it familiar she places it genetically close, attributing the ghost of her words to her sister Joan or my father’s sister, Auntie Maureen.
Although I have photographs of my father, I have no recordings of him speaking. He was a gentle, lonely man, who was abnormally prone to silence. He never once spoke of his time as a prisoner of war, or even of his childhood. When I remember him now, I can no longer hear his voice, but I can hear him in the tales that my mother tells.
My mother died in April 2011. Since then, listening back to my audio snapshots, I have been reminded of Roland Barthes book Camera Lucida. Barthes describes sitting alone in his recently deceased mother’s flat, ‘sorting’ through her photographic remains. But finding only a fragmented ‘likeness’ amongst the photographs, he writes:‘I missed her being, and therefore I missed her altogether…If I were to show them to friends I could doubt that these photographs would speak’. That Barthes should allude to the audible qualities of language in order to identify that which was essentially lacking in these images, recognises the vital qualities of utterance and voice.
Listening to a recording of voice offers a reanimation of the past, bringing the once was, back into the present. Unlike the mute ‘flat death’ of photography, the recorded voice returns in a manner with which we are acquainted: the telephone and radio have allowed us to grow accustomed to hearing voice without sight of those speaking. In fact, in what Gaston Bachelard calls the ‘logosphere’ of telephonic communication our bodily presence ‘appears by virtue of voice alone’.
Part three: a ghost in the receiver
Dad died when I was fifteen and my brothers emigrated to America, so my mother and I were left together. As I grew up and moved away from home the telephone became our main way of speaking and I listened to her more often than I saw her. It became a way of being there and as good ex-catholic boy I was there most every night. The answerphone machine allowed me to be there even when I was not there then.
We abandon our voice, time stamped and wanting in the emptiness of answerphones. These soliloquies for empty rooms are full of melancholy, a melancholy enhanced by the audible corruption of cheap tape. The messages left are not intended for keeping, they hang like an adjourned presence waiting to be heard and erased. The act of being saved only serves to amplify the vulnerability of the voices kept.
My mother’s sister Joan lives in Clevelys near Fleetwood, where she once ran a chip shop with Uncle Fred. When I visited my mum in Liverpool, I would often drive her to see Auntie Joan and her dog Harry. Joan could sometimes be persuaded to play her organ, and we would drink our tea listening to Moon River, Delilah and the occasional Bob Dylan. Normally, before we set off on our day out, mam would phone Joan, just to check that she was there.
The essence of speech does not necessarily reside in the ability of voice to communicate and tell tales. It may also reside in what Barthes calls the ‘patina of consonants and voluptuousness of vowels’. Listening back to my mother, it is in the rhythm, intonation and imperfections of her voice that I hear her speak. These hesitations, inflections, stutters and errors are the non-verbal noise or crackle of language, tracing speech back to its etymological roots: to crackle, to rattle and hiss.
For the philosopher Gaston Bachelard words are the ‘shells of speech’ and the telephone places these shells against our ear. We hold voice close; so close we can hear language as it is inhaled. Our being there is fragile; there is always the possibility that we might disappear, that we may, unannounced, return to the silence from where we came.
I had many telephone conversations with my mother. In Duet for Radio, I edited a recording of one of them, removing my own voice and filling it with the silence of telephone static. My mother’s voice, bereft of reply is isolated and widowed. Interrupted by forgetting, her tale of daily survival emphasises the lonely fragility of body and memory. And this is where I find her: a brittle presence in a spectral landscape: a ‘ghost in the receiver’.
Part four: putting voice away
Mam always liked to take care of people and in particular me. All her bingo prizes were saved and wrapped as presents for Birthdays and Christmas. As she grew older and more vulnerable, there was a change in our roles. I did her shopping on-line, sorted her bills and fought with social services for the luxury of a weekly bath and two days at Connelly House, the day centre, she so loved
Following the death of my father she became a Catholic; hoping that this would enable her to, one day, be reunited with him. For one of my early performances, I recording her singing Ave Maria and together we were interviewed for Radio 4’s Kaleidoscope. Off air, she said that performing was better than Bingo. But on air, her voice trembles with an unease and vulnerability that was never there in our own recordings.
The phonograph record promised the spoken word a life beyond the grave, but by giving voice permanence and substance, it was also subject to loss and decay. Just as the photographic image is perishable and in Barthes words ‘attacked by light…fades, weakens and vanishes’, so too the recorded voice is vulnerable to age and awaits an audible disappearance beneath the surface noise of time and neglect.
The recording of my mother’s Ave Maria was played at her funeral and I later had it cut as a 10” vinyl record, revolving at an archaic 78 rpm. Such physical regression takes voice back into the history of its own recording, repatriating it in time.
In a further act of repatriation, I took her voice back to Sheffield, where once we had performed together and she had sung her Ave, and where now Duncan Miller used an Edison phonograph to transcribe her voice onto a wax cylinder.
In our last recorded conversation, I reminded my mother where she was and gave her spectacles a wash. She was my mother but also my child. Recording her voice was an extension of care, a way of keeping her close and holding her dear.
Sealing her words in the fragile surface of a wax cylinder, I put her voice away, like an heirloom or time capsule for previous generations. Silenced by the obsolescence and vulnerability of the recording medium, her voice becomes a record that playing and listening may harm. Each time this recording is played another small detail of my mother’s voice is lost and she disappears further into the cracked silence of surface noise.
This cylinder is perhaps my own Ave, a farewell to a voice that I keep preserved in silence. For Barthes a photograph is best seen with our eyes closed, he writes we ‘may know better a photograph we remember than a photograph we are looking at’. The visible silence of a wax cylinder, reminds me that there is more to my mother’s voice than its record, there are those unheard memories of her speaking, which only I can hear.
Addendum: the nearness of silence Although our conversation in the care home is the last recording of my mother’s voice, we did make other recordings together. In March 2010, mam was placed on the Liverpool Care Pathway, the significance of which I never fully understood, refusing to realise or accept that this path lead in one direction only. Her breathing pattern became erratic and she was put on a morphine drip. As she lay asleep, I realised that listening to her breathing, although painful to hear, was a way of being with her: in the absence of voice we shared silence. I recorded this silence, the rhythm of her breath, the inhalation and exhalation and the dreadful pause between the two. I did not do this with the intention of the recording ever being played or heard again, but rather, to keep her close in the ‘nearness of silence’.
‘When language ceases, silence begins. But id does not begin because language ceases. The absence of language simply makes the presence of Silence more apparent’.
Max Picard, The World of silence
‘Then there begins a silence that breathes’
Gaston Bachelard, Air and Dreams
Kinokophonography is the name of a series of field-recording events organised by Kinokophone.
A number of my recordings have featured at these events, which have occurred in many places including the British Library, where my water snails of suffolk were acoustically released.
As part of a Kinokophongraphy radio retrospective curated by Kinokophone, Basic FM will be broadcasting a collection of field-recordings from the events. The retrospective will feature a series of my own recordings, including a selection of chalk dissolves, the Aeolian harmonics of Resistance #4, and those watery snails of suffolk bent. As one of the featured artists, the broadcast will include an interview with me and Jon Tipler from Kinokophone, in which we discuss field-recording and the poetics of dissolving ancient ammonites.
In his essay Reverie and Radio the philosopher Gaston Bachelard imagined a radio that would bring the ‘unconsciouses into communication’ and ‘reverie on every wavelength’.
The sound of fossils breathing again is perhaps part of such a wavelength of reverie.
Kinokophonography radio retrospective. Basic FM. 18.07.13 / 13:00 – 14:00
‘Film, as distinct from video, is like paint; it’s a tactile material that can be used to make powerful spatial illusions’ (Guy Sherwin, File Note #75).
In a maudlin and rather pedantic tone, I often hear myself reminding students that film is not video; they are different in nature and substance. Hold a film up to the light, run it through the fleshy gate of your fingers and you will see oblong frames of colour and form; try doing that with videotape.
In counterpoint to the flippant immediacy and temporal incision of digitally encoded video, film inserts a chemical delay between the moment an image is taken and the moment that image reappears: in the photographic darkroom we can actually watch this process taking place, we can be there when the once present reappears and light becomes substance.
For those of us familiar with the rituals of the Super 8 process, the additional delay that the international postal systems confers, adds another anxious yet delicious adjournment of presence. It takes a fortnight (an appropriately outmoded measurement of duration) for three minutes of time to arrive or rather return, wrapped in a 50ft coil of film, 8mm wide. The film is immediately laced up in the digital projector of our fingers and the nearest available light source, just to confirm, to see, that something is there.
Perhaps this is merely the nostalgia of a man of a certain age reflecting upon the technology that recorded his childhood. Or perhaps there is something essential in films relationship with light and substance, something that impinges upon our experience of not only the image we see, but also the moment and place that we experience that image in? A relationship Guy Sherwin alludes to in his introduction to the exhibition Film in Space at Camden Arts Centre: ‘Images are formed through certain processes and that affects our understanding of them’ (ibid). For me the strongest parts of this exhibition occur when the materiality of film is most apparent, when light and substance oscillate.
On entering the exhibition we are greeted with the continuous mechanical chatter of a pack of 16mm projectors, biting at the glossy tongue of film and chewing image into light and presence; the occasional film-edit introducing a momentary gulp for air. That the images which Lucy Reynolds’ films project, should concentrate on words, emphasises a distinct lack of voice, language stripped back to the noisy mastication of its production: the hard ‘tittle-tattle of the teeth’ (Stephen Connor) rather than the soft wet vocalisation of lips, tongue and larynx.
An air of the mechanical continues in the large empty space where William Raban’s Diagonal (1973) awaits projection. Here we are presented with a lifeless, lightless, projector and a wall mounted push switch. The motor memory of previous light switches that linger in my tarsals, overcome the awkwardness of the gallery situation, and I witness my hand reaching for the button, causing a temporary change in the state of an electrical circuit and plunging the gallery into a moment of measured light. The ‘kinetic melody’ of my gesture brings with it tangent memories of the dark staircases and deserted landings of Wolverhampton bedsits in the 1980’s: impoverished non-spaces where even light was rationed.
The resuscitated projectors mechanically wrench stillness back into motion. The first familiar static breath of film sound, prefacing the re-animation of images photography has stilled. The whole process of switching the film on is strangely reminiscent of those fairground automata, which suddenly awake as a coin is dropped into their slot. The origins of film are full of such spectral reference: the phantom rides of the Lumière Brothers, the staged illusions of Georges Méliès, but to find such echoes here, in an exhibition concerned with the materiality of film, is unexpected.
In Gallery 1, I discover Sherwin’s Newsprint (1972/2012), a film I have seen and shown many times. The original curl of the actual film, covered in its now yellowed newspaper, hangs on the wall next to the effigy of its own projection. In my previous single-screen viewings of this film, I have been struck by the physicality of the sound produced. The dull sonic cosh to the back of the head as the printed text rubs against the optical heads of the projector and language escapes from meaning. But here the projector is in front of me, wall mounted on a do-it-yourself shelf. A constructed armature fixes a mirror to the machines body and projects the text down onto a grey table, a speaker, skinned from its box hangs down beneath the projector. The formerly abrasive escape of language is now delicate and visually confused with the interference of a loose wire or poor connection. It is as if language were between stations, trying to break through,to return here from somewhere else. As ‘what is inaudible becomes audible’ I am reminded first of the EVP experiments of Raudive & Jürgenson and then of the poetic resistance of voices that emerge from the chauffeurs radio in Cocteau’s Orphée (1950).
Steve Farrer: Clawless Bolex & 10 Drawings
The ghosts of film’s history continue with a long printed strip of landscape from Steve Farrer’s Clawless Bolex (1878-9), where the artist has removed ‘the claw and shutter from [a] cine camera to record the landscape rolling past a train window’ (Sherwin, ibid): another phantom ride through time and space, resulting in an emergent spectral landscape reminiscent of the chronophotography of Étienne-Jules Marey. In a visual echo of Sherwin’s Newsprint, the ten ‘drawings’ of Farrer’s film, 10 Drawings(1976), are mounted on the wallnexttotheir illuminated future. The drawings are exquisite; a grid of six rectangles, each consisting of 50 strips of clear film stock laid side by side, upon which Farrer has drawn (or printed) simple geometric forms, producing astronomical linear patterns of light and dark. The drawings are deconstructed and spliced into the thin extended line of 16mm film and projected as an oblong of visible light next to their original forms. The optical sound head of the projector translates the patterns of line and light into pulses of sound. It is as if we are listening to the transmission of a signal or wavelength from some far away source, a pulsating star, a distant and active galactic nucleus: a signal we can find on our channel but which we cannot decode or receive due to lack of vertical and horizontal hold (I like to imagine that 10 Drawings was included as part of Voyagers interstellar message). Although, in both Newsprint and 10 Drawings, I am conscious that the sound I hear is a result of the image projected, there remains a ventriloquial gap between the site/sight of utterance and the sound enunciated, as if this vocal burst of electronic communication was coming from some when and somewhere else or other.
In a corner of this gallery a silent and almost apologetic table and chair invite the physical company of a solitary viewer. Upon the table, a strip of film hangs over the illuminated Perspex window of a light-box, a line of film held in tension between two metal spools. As my hand cranks the film from one side to the other, the handle of the spool I am not holding rotates in sympathy with my action, as if another invisible hand was shadowing my movement. When my hand stops, the film continues to spool…“spool”. The solitary intimacy of this situation augments the delicacy of Annabel Nicolson’s hand printed film, Slides (1971). My position mimics that of the filmmaker, as I thread the film through the small rectangular aperture of light. The ritual of this encounter is enhanced further by the attention of the gallery assistant, who, following the departure of each audience, carefully rewinds the spools to ensure that the film is held in perfect tension.
Annabel Nicolson: Slides (1971)
In the artist studios of the gallery, Lynn Loo presents a selection from her personal archive of Expanded (live) cinema. And here I find Sherwin’s performance of the film Paper Landscape (1975-), which seems to me an almost perfect conclusion to the exhibition. As a projector starts we see Sherwin painting into existence the white rectangle of a cinema screen. As this action progresses upwards, the hands of a much younger Sherwin begin to appear, tearing away at the bottom of a paper screen, through which a landscape becomes visible. As the process of painting and tearing conclude, Sherwin is immured behind the image of the landscape revealed. The filmic apparition of Sherwin’s younger self, steps through the torn paper screen and walks toward the camera, before turning back and walking away into distance and absence. The image trembles as the screen begins to tear again, the present Sherwin steps through the landscape of his past, bringing his body back into matter and presence. Once more I am reminded of Cocteau’s Orphée and a return to substance through the refracted portal of mirrored light.