Tuesday, May 16, 2017


Back in 1990/91 I shot a few reels of Standard 8 film, making much use of in-camera superimposition. Footage shot at the old London Filmmakers Co-op can be seen in another post, but a reel was also shot in the woods near my then flat in New Eltham. There are numerous sections where the film became light fogged with flashes of yellow and red. 'Flares' takes a very short section from the beginning of the reel, and loops it three times.  Loops two and three are a little shorter causing them to slip in and out of sync with each other as they repeat. Placed side by side, rather as with the Chronocuts, elements seem to move from one frame to the other, in particular the light fogged 'Flares'. Unlike the Chroncuts which maintain a fixed time interval, the different loop lengths causes the 'Flares' to dance about somewhat unpredictably.   The soundtrack was produced by reworking some Max/MSP/Jitter moving image to sound patches I made for 'Fleshtones'. Here the changing luminosity produces a series of notes which are then fed to a software vocoder and tweaked in real time creating a chord each time the light changes. As the piece progresses more overlays of both sound and image were added. The whole process is (aside from the footage) entirely digital and I was keen to avoid  the piece fetishising analogue aberrations, in the way pop videos include self-consciously scratchy Super 8 as a stylistic device.  "Flares" seems to escape retro nostalgia through the linkage of the variations in the footage to the mechanism of sound production. What we hear is clearly not optical sound but a digital process which as such declares its material (in as much as digital ever can) and thus acknowledges the digitised footage as source or sample rather than as badge of analogue authenticity.

Flares from Philip Sanderson on Vimeo.

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