Time-Based Media

PublisherLateral Addition2016
This is a recording of a trio improvisation by Takahiro Kawaguchi (horns) Masahiko Okura (reeds) Masahide Tokunaga (alto sax) which was held at En-ban, a record store in Koenji, Tokyo, at 8pm on August 30th 2016. Okura and Tokunaga are wind instrument players who work in both composition and improvisation. Rather than focusing on any one fundamental output, the handmade instrumentation and musical content of each of Kawaguchi’s performances are unique. On this recording, he performs as a “mechanical wind instrument player.” Text translated from Japanese by Wonja Fairbrother. Audio mastered by Alan Jones.
PublisherLateral Addition2016
A knife is cutting through air, relentlessly. However, it cuts very slowly, by degrees and in circles; it’s a wooden knife, not very sharp, like a butter knife but with teeth. The structure upon which this knife is attached has a light bulb resting on it, a light bulb with a rather complex metallic grid inside, vibrating softly with every degree of the knife’s turns. Then there is a strip of paper or a piece of thin cardboard, suspended; three toothpicks are leaning on and pushing this cardboard but they are not strong enough, the cardboard barely undulates. Sometimes a toothpick ...
PublisherLateral Addition2016
Excerpts from Day Three at the Sydney Cricket Ground: Starc bowling to Saha from the Paddington end – dot ball; off-drive: boundary; dot ball; dot ball; dot ball; back-foot defence: dot ball. Watson bowling to Ashwin – edged: boundary; dot ball; dot ball; dot ball; forward defence: dot ball; forward defence: dot ball. Hazelwood bowling to Saha from the Randwick Street end – front foot defence: dot ball; back foot defence: dot ball; back foot defence: dot ball; drive to mid-on: dot ball; dot ball; off-drive: three runs. Watson bowling to Saha – forward defence: dot ball; back foot defence: dot ball; forward defence: ...
German cinema is best known for its art cinema and its long line of outstanding individual directors. The double spotlight on these two subject has only deepened the obscurity surrounding the popular cinema. A Second Life performs a kind of archaeology on a period largely overlooked: the first two decades of German cinema. This collection of essays by established authors refocuses the terms of a debate that will develop in the years to come concerning the historical and cultural significance of popular cinema in Wilhelmine Germany.
after.video realizes the world through moving images and reassembles theory after video. Extending the formats of ‘theory’, it reflects a new situation in which world and video have grown together. This is an edited collection of assembled and annotated video essays living in two instantiations: an online version – located on the web at http://after.video/assemblages, and an offline version – stored on a server inside a VHS (Video Home System) case. This is both a digital and analog object: manifested, in a scholarly gesture, as a ‘video book’.
Alexander Kluge is best known as a founding member of the New German Cinema. His work, however, spans a diverse range of fields and, over the last fifty years, he has been active as a filmmaker, writer and television producer. This book – the first of its kind in English – comprises a wide selection of texts, including articles and stories by Kluge, television transcripts, critical essays by renowned international scholars, and interviews with Kluge himself. It will be a valuable resource for students and scholars in the fields of film, television, and literary studies, as well as those interested ...
PublisherLateral Addition2015
This audio comprises binaural and stereo recordings. As a result of the mix, it is best experienced when listened to on headphones. The binaural audio is related to the research I conducted during my residency at EMPAC in Troy, New York in 2014. During two weeks in May 2014, I created different architectural configurations employing 16 moveable walls made out of materials with various acoustic properties. I placed many speakers around them to compose sounds that focused attention in different ways, an approach that reinforces sonic hierarchies. In November 2014, I focused on one particular wall/speaker configuration and invited choreographer Jocelyn Tobias ...
The film charts the journey of an artist–filmmaker who is led astray from her attempts to make a documentary in Los Angeles by the mysterious history of a deceased male artist named Amboy. Amboy’s storyline is expressed with a disorienting array of cinematic strategies taken from feature films,documentaries, B–movies, and home–video style recordings. The conflation of these approaches takes place in an exhibition environment: one that includes photographic prints and readymade objects taken from the actual site of Amboy, a ghost town in the Mojave desert that serves as the central location of the film. Scholz, a painter and filmmaker, edited, ...
PublisherLateral Addition2014
1 – An aphorism interrupted by some anecdotal wood 2 – An aphorism interrupted by some anecdotal wood 3 – An aphorism interrupted by some anecdotal wood 4 – An aphorism interrupted by some anecdotal wool 5 – An aphorism interrupted by some anecdotal oven 6 – An aphorism interrupted by some anecdotal wool 7 – An aphorism interrupted by some anecdotal wood – HP
PublisherSinkhole Audio2015
15 minutes, 51 seconds duration Performed by the artist and Cia Rinne, with birdsong recordings from the Tierstimmenarchiv (Animal Sound Archive) at the Museum für Naturkunde in Berlin selected by Dr Karl-Heinz Frommolt The analytical bibliographer charts the movements of books through time and space. Each copy of an edition makes its own journey, like a migrating bird. Only in the painstaking, scholarly work of bibliography is the homecoming of an entire edition possible. A copy of ‘Vögel vor der Kamera’ — birds on camera — is disbound. Artist Susanne Kriemann overprints the loose pages with large letterpress type. The letters H, O, ...
The production, distribution, and perception of moving images are undergoing a radical transformation. Ever-faster computers, digital technology, and microelectronic are joining forces to produce advanced audiovision -the media vanishing point of the 20th century. Very little will remain unchanged. The classic institutions for the mediation of film – cinema and television – are revealed to be no more than interludes in the broader history of the audiovisual media. This book interprets these changes not simply as a cultural loss but also as a challenge: the new audiovisions have to be confronted squarely to make strategic intervention possible. Audiovisions provides a ...

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