2 from Lumière et Son

time travel
Time Travel (2010, 10 MB, 1:10 min)

A Right of Passage
A Right of Passage (2010, 14 MB, 1:04 min)

We’ve not hidden our enthusiasm here for the work,
always interesting ,often stunning, of Sam Renseiw.
Sam’s been a particularly deft & prolific exponent of the
Lumière form re-invented/discovered/conceptualised
by Andreas Haugstrup Pedersen and Brittany Shoot (of this manor).

Here the whole thing goes a stage further with a great
collaboration between Renseiw and British filmmaker/sound artist
Philip Sanderson, archived on a site called Lumière et Son
which title, for me at least, occasions both a groan and a kind of grudging admiration.

The work is great – Renseiw’s originals, with new found-sound additions
from Sanderson; playful, witty and perhaps even a a little profound,
in a Zen kind of way.

I hadn’t really clocked it properly until I saw a couple of these pieces
at a screening in London the other day.

Here’s one from that programme (the original of which
we posted here a while ago) plus another that especially
tickled me.
Splendid stuff & here’s to many more!

Jon Jost is not making movies

jost
Jon Jost is not making movies (2006, 36.4 MB, 6 min.)

In 2006, Woods Hole Film Festival featured a tribute
to filmmaker Jon Jost.
I got a chance to talk with him for a few minutes
about his career in film and his commitment to
pushing the medium of digital video. In this video
he gives some great advice to new DV filmmakers,
and explains once and for all 24fps setting on your camera.

By Mica.

Derek Larson – Blank State

tootsie
Tootie (2010, 7 MB, 51 sec.)

danny_tanner
Danny Tanner (2010, 11 MB, 1:14 min.)

boss
Boss (2010, 12 MB, 1:18 min.)

Derek Larson is concerned with “working with his hands” in the sculptural space
inside video and in blurring the lines between social and media spaces.
He describes his intention to close his videos in a “culturally dependent,
feedback-loop” and, as a sculptor, is attracted to video’s infinite reproducibility.
His works appropriate the methodologies and deadpan humor of tactical media while
drawing a focus on its formal qualities and relationships in lieu of fixed and pointed content.”
LOUIS V. E.S.P.