Three peoples, one country: Malaysia. Multiple exposures of street scenes distort space and place creating a fluid sense of impermanence and transition, of two states somewhere between China and not China. He replaces the obligatory unspoken "zero" of the countdown with a dynamic backward twist of his upper body.
The point of his finger, which twists backward with him, provokes a change in the shot to reveal the view of a bulging baroque dust cloud being sucked inside a building by a nearly unstoppable force, from which, in a din, an imposing structure in its entire, undamaged splendor emerges. This process occurs five times altogether from various perspectives and distances.
Her working material comprises private recordings from viewers who witnessed the demolition of the building parts of the Eastman Kodak company complex in Rochester and published their self-filmed documentary clips onto YouTube. Many of them had worked in the factory, which makes them witnesses to the destruction of their former workplace.
Viktoria Schmid compiled the clips and played them backwards. In the regenerative movement, the implosion turns into an act of constituting. And thus, the reducing to rubbles of the building parts becomes a spectacular reconstruction, accompanied by the amazed shouts of the audience "WOW" is the palindrome of the moment! In this way, using digital means, a party-like tribute is paid to the glorious resurrection of the factory for color-sensitive analogue film. A series of seven in-camera edited Super8 reels explores the link between grass, sheep, feeding, wool, milking, cheese, threads.
The different locations include a reservoir, for which I have a particular lineal affection, a cemetery in the Bronx where my ancestors are buried, and a slaughterhouse in upstate New York. Consequently, the film explores themes of family, death and the loss of innocence. In doing so, it creates a concentrated rhythm and familiar cyclical pattern of movement; both of which result in a subconscious pursuit of the inevitable.
A vocation is always suspicious. Priesters, cops, soldier. Judges vocation Three days before they left their village and the family home following the death of Guy, the members of his family, greet the territories where they grew up. Caught between the stupor of death, the indecency of the world that continues to turn and the departure of the house, they are facing this coming season. The frozen gestures and the bodies in packs tend to hold hands. We stopped, nowhere. And the rest to continue to live, to say, to blow.
What's more alive. The noise, the music of others, the music of what we do not control. The noise. Despite death, despite the indecency that everything continues. Here, 16 mm film and VHS video tapes need each other in order to exist. Thanks to the transparent clear leader of 16 mm acetate film, we can visualize in movement the materiality of the analog video support, glued on top of the film, serving as skeleton and structure of the vhs tapes intervened. A film? A video? Both and none at the same time Sample here is first movement. Punctured, ink spattered and scratched loops of film; colour gels, masking, lenses and blown glass induce a variation on closed-eye vision and non-light hallucination.
All materials are abstract and non-representational. In the distance, on a boat with hoisted sails, the litanies of passengers join in with the cussing of sailors. The sea vomits onto them and they vomit onto the sea. Ode to the precariousness of a barbaric world. Beau Soleil is a Sc-Fi movie write through the aim of surrealistic game of writing. Shots in color Super8, it is about how the sun disapears and kills all the Human species, only some animals survive and organise themselves in a society. Shots in black and white 16mm, Marianne and Robin is a remake of Robin Hood.
The script has been rewrite through some french contemporary issue like, refugees police abuse, expulsion The action takes place in some painted decor and plays by some diy and balinese's puppets. The creation of a nothing that hugs the contoured reflections of its neurological mirror that bends like poached eggs before being broken into small containers and switched on and off. The vaudevillian is trained in the art of distraction and spectacle - which is falsely equated to entertainment. It is the art of entertainment companies to distract enough people from the true farce - their spectacle is not actually entertaining.
At worst, the digital sickness adheres directly to the host through the development of a dogmatic diet of nothingness; this is often supported by a strict philosophy of prescribed escapism; bourgeoisie arrogance arises from the false belief in the stability of human reality. Where apathy and nonchalant complacency in hyperreality are confused for wisdom and being well-adjusted. As long as there is free will and physical reality, the digital sickness will work to metastasize and eventually seize working functions by conforming to the freedom of physical systems in time.
While the vaudevillian eventually falls flat when the material is run thin and repeated, the digital sickness's material never grows old, it just gets mundane or accepted as reality. In fact, it can never grow anything, because it sucks and vomits nothingness like a cold fluorescent fluid, a grain grid, a puddle of circuits; where even randomness is digitized; where even that which is captured organically is caged and tainted pixel meat, beaten raw by carnival barkers.
Uncut 16mm with in-camera quadruple exposure - a print will be made for Analog exhibition as well as digital. The title derives from the work of Lynn Margulis and to her notion that the convergence of species — rather than their divergence — is driving evolution. Similarly, the performance integrates a set of elemental images and sounds that come to life through layering and repetition.
The first night is a concept from a short story book narrative and dream edit in a film. Welcome to my dream at the first night. Love, Alone girl, Man in the dream, Photographer and model in mind, Memories of mermaid's and Spirit all around welcome into the dream. The bazaar expands into all other parts of the city and claims a large percentage of the available public space.
The vast majority of the local shops is lacking the facility of a shop window. Instead, their architecture can be described as a garage style, windowless, rectangular box, open to the front, with roller shutters to lock them at night. Stepping into such a shop can be like entering a complete new world: Many of them are literally filled with products galore up to the ceiling. The product itself serves as the interior design.
Every day hundreds of busses with thousands of shop owners and their family members come from the surrounding villages and small towns into the city. Especially during the rush hours the market gets overrun by an avalanche of customers who seem to enjoy their high-density shopping experience. Shopping galore. Products galore. Profits galore. Each character is scraped frame by frame. He is carrying stones, sometimes burying them and sleeping on them.
He continues doing the same tasks, never revealing to the viewer the reason of his work. The title 'Symbiogenesis' derives from the work of Lynn Margulis and to her notion that the convergence of species — rather than their divergence — is driving evolution. It has been shoot collectively with super 8 reversal film and hand-processed at our lab. Close to the center of the city, we are surrounded by the tension between gentrification and resistance. Everything is alive. This film was made with a JK optical printer, of 30 meters of 16mm color negative, shot in a small farm in Maine-et-Loire.
It was print, re-print, cut, edited, sometimes manhandled. To bring out the beauty and the music from images of struggle and blood. By combining Super8 film footage from five decades, the filmmaker fulfills this wish nonetheless. The change of generations seems to be stopped by the continuity of the film technology, blurring the limits of time in the Bay of Lignano.
If you want the screening link, please send me an email. She takes refuge in imaginary places. In his room, a strange photographic mechanics awakens and draws him into his universe. The race is started: Alice enters the lens and travels through her dreams and nightmares with determination: do not stay frozen on the film.
Through a mixture of images and textures, a troubled and moving frame, an inversion of proportions, sounds and music from the depths, Equinode creates an immersive, mysterious and disquieting experience, an aquatic poetry, a dive into the abyss. Equinode tends to make us feel, interrogate, probe our influence as human beings among a multitude of creatures that surround us, even constitute us, and of which we care so little. In the black beating of shutters things penetrate, ghostly, as islands which have not received their name yet. The three weeds were first shot on Super 8mm and hand processed in caffenol.
The relations, gestures and conditions shape an essential discussion about the art of cinema. Building on fragments found, recovered and rescued from old Super 8s, we tested the principles of the inner image, the one engraved in our conscience. The film is made with black radish: minced and cut in parts, then patiently placed and exposed on film. In a digital age, we go back to the roots of cinema!
Studying the materials with a hand-cranked projector permits scanning across the images as well as freeze-frames. Satellite views of ice floes; macro photography of cells; geographies of random patterns; clumping silver nitrate. Audio by The Cyrillic Typewriter. The film is shot like a dream and the aesthetic use of a number of experimental cinema only emphasizes this state. Universal sound gives it the poetry of Fyodor Tyutchev , earnestly played by Leonid Mozgovoy behind the scenes.
Young actors Natalia Surkova and Vladimir Zolotar', existing in the frame, had the difficult task to show people who are not encumbered intellectual work of future generations. Had to abandon today's problems and try to present themselves the original people, and then immediately transferred to the end of time. The plot begins with them and ends with mankind.
That the author wanted to show the continuity: the first love and the alleged last - indivisible one eternal Love. Seated on a casting couch, two actors are getting trapped in their impromptu conversations on the unwanted side effects of a world that no longer bothers to tell facts from fiction. An expanded multi-genre film within the constraints of the so-called Masala Formula popularly known from Indian cinema.
Work on the concept of geometry and space in the cinema, from the planar space of the photogram to the stage of its representation, this project reveals a multi-faceted object. The different surfaces that circumscribe the screen, the movement of projectors on rails, the changes in projection angles and the simultaneous visions.
Associated with Michalis Moschoutis' direct sounding device, Nomino's graphic images are deconstructed and their virtualities increased tenfold. Spatial sound diffusion immerses the audience in this multidimensional device, at once a movie set, movie theater and film.
Performance and film come together to evidence a physical and poetic response to an old sofa abandoned on the street. Transforming the discarded into action, comedy and pleasure. A road test of materials, bylaws and nerve. But also it could be a spot for oneself to connect with nature and with the own animal esence.
Water currents work as a metronome of human drives. Farewell Transmission is equal parts indexical record of the demolition of CBK in and subjective response to the residual media documenting the event. The building is framed with tension preceding its destruction: emulsion pulsates as if with decades of radio transmission, creating an unsettled eulogy for a cultural institution. Smith asked several filmmakers to visually interpret a poem from his latest book "Bad Ideas.
The materiality of the medium can be seen as an immaterial and oppressive entity, representing your darkest self, nothingness itself. This was followed by an apprenticeship as an butcher and the discovery of boxing. In , he fought against Muhammad Ali. Blin is a biter, someone who makes his own way. Especially because of strong setbacks, he fought himself through life.
The sea. My memories now have a separate life of their own Please email for preview link and password. This film is an audio-visual investigation of time, a visual poetry researching different perspective of time, passage of time, time rift in experience, mind and space. A flow of the passage of time is created by a conversation and connection between the present and the past.
From afar the paths are closing, when from closer the possible open up. A pine forest. The backs of some women, looking at the sea. A counter-shot of the happiness. The emptiness that remains after a complex, two-way movement: that desire to escape and the inability to leave behind that which stops us from doing so.
Sound and sigh, text and texture, page and image. Crossing a century of horror and promise, of barbarity and technology, whose burden discharges heavily onto any future. Matter-energy-information varies. Side by side communication, surplus value of code. Commodities, bit coins, mountains of data. Still standing there, it is an unexpected object on the pathway to a scenic view of the rolling hills on the Djerassi property.
Cinema without film. As I go, impressions and questions present themselves. The intimacy of looking at my child. The ethically loaded gesture of capturing images. The entangled encounters across generations. They confront me. The comfort me. Can the liquidity of writing be grounded in the material of film-image? In the depth of the sleeping waters, a roar sounds, probably a comming revolt.
For a color-crazy world. The 'ah! For Shinto, though, the point is to accept the awesome as part of the world in which we live. To deny or try to eradicate the wondrous mystery is no less than to run away from home. Centered on a misguided attempt at a neighbourly gesture, it portrays residents in a small cul-de-sac managing to avoid real interaction despite their geographical closeness. A rhythmic collage where the focus is placed on the mistakes, or what would have been discarded by the cineiste, instead of being left. From clippings of my own collection of home- movies, I built a rhythmic collage where at first the focus was placed on the films technical problems: violent pans, out of focus, insane zoom-ins, abrupt cuts, or what would have been discarded by the cineiste instead of being kept in the final cut.
The piece explores a tension between the upright, erect, external pedestrian body and the internal, apprehending, grieving body, which may feel to be wilting like flowers. What began as test footage developed in to an experimental film that explores urban morphology and the juxtaposition of natural and manufactured forms. A joyful play with optical illusions, small variations in the repeating pattern elements generate apparent motion.
Photographed on Super 8 and hand-developed using locally sourced matcha powdered green tea. Email for link and password. Documentation or rather Super8 improvisation. Look how beautiful the light moves is an attempt to remain in time rather than space. Shot in a house in Montreal, the images capture different light situations in real time and time lapse using in-camera editing.
The filmstrip of the Super8 cassette was handprocessed and remains unedited. This film was conceived and performed by protagonists of this collective, which was evicted. The fable of this film experiment, borrowed from american literature, takes place in , in the bar inside Chicago's train station. It recounts a sudden departure, without return, which is due to happen 22 minutes later, leaving just that much time for an explanation.
The "subprime mortgage" crisis is happening, and we know that the building we are in is to be demolished. And when we finished the film in , a shiny new building replaced the one we had known. Meditations about the tyranny and the volatility of the time. Two 16mm projectors side by side projecting, while two other slide projectors hand-operated also draw images on the screen. It takes them to Berlin, a city of constant movement, where the old has to give space to the new. The couple finds a home and transforms it into the center of their own universe. As time passes and seasons change, life and cinema become one and their room becomes an ever-changing stage, where friends are invited to play their own roles.
In this state of transition Melissa and Gustavo lose sight of their path and their world starts to tremble. Until one day a cosmic portal appears in their home opening connections between the past, the present and the future, confronting the two travelers with extraordinary discoveries. A playful rearrangement of experiences, memories and fantasies into a journey transcending space and time. Together they have developed a unique audiovisual performance practice, drawing on the diverse background each has in their respective fields, seamlessly blending film, sound art, and performance art.
Marek Pluciennik emphasises the tactile qualities of film, not just as a vessel for content, but as a material medium, by treating and transforming the film during the act of projection, most commonly by melting and burning the film as it is projected on the screen, as well as through the digital capture and transformation of both materials and process.
The visual results are thus a combination of the film content, and the beautiful, strangely transfixing display of colour and texture as the film bubbles, melts, and dissolves. The results capture the transitory, ephemeral nature of experience, art, and performance, as images, scenes, narratives, and people melt away on the screen.
Pluciennik's live treatment of the film extends into the digital — as these physical metamorphoses are recaptured, digitally treated and transformed, and projected anew — and also into the realm of performance art, as his methods are played out in front of, within, and around the audience, sometimes requiring the participation of audience members, and often extending into broader metaphors of performance action. An improvisation in color, form and editing. The possibility to create a new type of reality and to reach a different meditative or trance estate.
Vimeo link coming soon It was printed, and reprinted using a colour addictive contact printer, and it includes double exposures during the printing process and various other techniques to achieve the 'double colour' effect in a single image, as well as incorporation of solarisation during development to some sections. Projecting a filmed image of this icon directly through the actual object itself results in an accumulation and proliferation of invented meaning.
A rumination on the power of pointing camera and projector. Its some square kilometres are home to brilliant white dunes, unique desert flora and fauna, and, of course, the atom bomb. On all sides, the Monument is surrounded by White Sands Missile Range, where some of the world's deadliest military apparatus is proven.
This contrast between the serene and the violent inspired the Arenas Blancas series. Part 2: Impression Of Scale takes as its source material the individual gypsum crystals that form the eponymous dunes. By photogramming the sand grains that make up the desert, one is subject to a manipulation of experienced scale: the objects flying past on screen are at once microscopic and galactic. To further emphasize the immensity of space that exists all around us, the original source material is filtered through red and cyan filters on an optical printer and the film is intended for viewing through anaglyph 3D glasses.
Note: Film is in progress, with expected completion April It is a handmade animation and hand developed. Forgive my nerves— rattling of my subjective coloring and inverted subjects! With a focus on my affinity for the ephemeral, this is in part a remix of left over footage shot and then re-printed on a now defunct and sorely missed Kodak film stock, A record of my trudging foray into Step-Printing and the indulgence of rediscovering old scraps of images.
The abstracted figures in these silver blotches dance for a camera they cannot fathom. The observational documenting of the inanimate objects in my apartment was directed by natural light in the mornings and evenings. The visual tempo of the apartment is further examined through the use of optical printing and the effects of still photography and film.
This is a work scan that has been cropped and the scan was colour corrected as a work print only. Ideally this silent film is to be screened as a camera original 16mm film. Excerpts of poetic prose, read by the author, the sound and experimental use of montage, subtitles and black screen are creating a rhythmic spiral sinking into the un conscious.
Final destination is the barren island Sicily where he lives on the peninsula Ortigia, Siracusa. In his apartment near the Ionian Sea he is finishing his great novel End Times. It is little known that the Lumiere brothers' train arriving at a station, which first screened in , was reshot in stereo some forty years later. Here we find ourselves on that train, moving infinitely forward and back.
A film made in seven cities, and none. Construction continue. Intervention directe. Construction plasticienne et chimique. Each loop is a film strip with image and optical sound; therefore, in practice a different combination of image and sound will be created at any given moment. Different elements are brought together, letting them communicate in an ever-changing balance. Formless objects are captured to create a visual experience, which gives a concentrated experience of timelessness and spacelessness in the moment.
The images are captured as reflections on movement, awareness, observation, being and transformation. A piece of waste ground behind a train station catch them. A running of three minutes starts, cameras simultaneously activated, fingers blocked on triggers. Two Super 8 movies copied out and united on a single 16mm band by alternating every photogram of every movie. The film is black and white hand printed and processed. It should be played at 24fps with the soundtrack provided by the image. It is a celebration of my fathers life, a meditation on his body and a visual record of mourning. When my father died, there was never a chance to see his body after life had left it.
This film was made by placing his ashes directly on 35mm film in a dark room and moving the film a frame at a time. What we see in this process of photograming is not the object in the photographic sense, but instead a representation of the space surrounding an object. The photogram is a shadow charting the distance between things. Taiwan is an island, which has changed hands many times in its year history. Till now, Taiwanese struggles with their identity debates. Floating between nations and identity complex, I travel to islands; perhaps, to catch a glimpse of homeland.
By constructing, re-filming and hand animating the photographs and mundane objects, I interpret history as a contemporary process. Island is no more a geographical term, but a state of mind, in which I plant the root of my very own. Taking an industrial film processing machine as its subject, the film turns the machines' image and sound into a reflexive poem.
Hovering over its oxidised surface an attempt is made to land on its endless outpouring of loaded filmstrips full of hidden treasures and avant-garde conflict. An E-ternal polyester leader provides abstract rhythm and profound blabbering appeasing the gluttonous intestines of the rattling mechanism. Body and soul rest in over exposed flashes of transcendence: a star is born and extinguished beyond its capitalist demise.
There is a reverie of a melancholic love song playing on an airplane, flying towards an island, straddling an ocean and a sea. There is the soft haze of an embargo slowly lifting into the celestial blue. The film reclaims the Visual as a Language and challenges prioritization of semantic meaning in translation in favor of considerations such as form fidelity. The structure expands with each chapter, accounting for the development of language while adhering to the rules of the recitation of the Quran.
Before the Quran was canonized, it was transmitted orally through recitation, thus, the medium of translation is Kodak E, orthochromatic sound recording film. The video is the result of two overlapping projections, digitalized by a mirrorless camera. The audio is an old analog track I recorded 15 years ago. This should be a nostalgic tribute to the glorious K40, which unfortunately disappeared. Grain, dust and scratches are today strictly prohibited in favor of more and more sharp, clean images, but I think that nothing could replace the charm of the emulsion, the chemical process, the fact that it is organic and so, alive.
After a while I wanted to give a new use to this material, or at least recycle it. So I started to view and select only the parts that interested me the most of all this footage. I ended up taking 3 frames here, 5 there and collected an entire folder of small frames. This film is like the work of an architect, building a building block, by splicing small blocks of frames, looking to collide with one another and create new images. At the same time, this film is an eulogy to the act of splicing, the aesthetics of the joint. Enjoy the splice of life!
The film considers the process of documenting, memory and remembrance. Photographed anamorphically on expired 16mm black and white film with a 50year old hand-cranked camera and entirely hand-processed At One Fell Swoop resembles a phantom-like film lodged amid multiple stratums of time and space. Shot on 8mm and 16mm film and hand processed, Tyburnia plays out as either a digital single screen work or as an expanded 16mm film with live soundtrack by Dead Rat Orchestra. Macbeth Cards precision tools in colour film processing , were a popular accessory for small-gauge Kodachrome filmmakers in the 's.
They have since been re-adopted by contemporary digital photographers, who use them to compare lighting scenarios on internet blogs and forums. Tracing the history of the colour calibration card through many lenses, I effectively remove all colours, save one. Multiple exposure and color filters transform human figures in ghostly presences of variable color shades. Such times when certain acuity enables to find the exoticism to that which is, each day, before our eyes. The desire to contemplate and to be attentive, to watch and to hear the outskirts of a city, its infrastructure and suburban sites.
Distance, sometimes dismay. Exaltation and withdrawal sometimes soft or violent. Pulsation and electronic textures are questioning these common places where the camera persists. I want to see what you see. From where you are. She thinks just a sound would sometimes make it. No matter how bizarre can be, just a bit inland you find that the world has rules, and that you have to follow them.
It exists as either a 3-channel as seen in the video or a single channel piece. Massage parlors, dim sum parlors, nail parlors —its Parlor City, baby! Hyperactivity: a sausage dog chews on a rib-eye bone while a Filipino family prepares a dinner of three to four different ethnic cuisines. Incited by the airy weight of digital platforms and their approaches, I imagined ironing flat potentially conflicting 16mm negatives via an industrial contact printer.
Views thicken; detail lost over generations. A dream of turning two images into one, a density of information reserved for the modern cloud. Filmed from the backyard and at the Chevron Refinery located on the idyllic and fragile shores leading to Indian Arm near Vancouver. Chemical spills rupture silence across film's emulsion.
A part of the Iris Film Collective End of the World Film Commission where members were given a limited amount of Orwo black and white print stock to create a themed film. Funded by the BC Arts Council. This short absurdist comedy was shot on 16mm print stock, and hand processed using caffenol. This work was commissioned by the BC Arts Council in On the wheel upon which man turns and is turned. On 'homo mechanicus' — 'machine man'. An attempt to control and then confuse the viewers'attention.
To make the film I collected and rayogrammed my hair and used this footage as a curtain or mask, through which the viewer glimpses private moments of my partner and I in our apartment. The result is an abstract yet slightly voyeuristic portrait of a couple's shared life. Soundtrack by Francis Plagne.
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A section of cloudy sky has been filmed thrice on black and white film, each time through a differently coloured filter red, green, blue. Projected through corresponding filters, the images appear on three screens in degrees of overlap, resulting in a layered distortion of the conventional image of blue sky and white clouds, seeking to reveal the cinematic apparatus behind the composition. The mechanics of the film image become a palpable experience for the viewer. Scratches and dirt marks on the hand-processed material and variations in projector speed underline the impression of fragility that is an inherent component of works on analog film.
But you will dance unlike you have ever danced before, with threads of everthing you know are repackaged in metastatic digital packets of data rapidly going nowhere, blinking quickly into things outside the periphery of consciousness and knowledge towards digital sickness which thirsts for absolution. Not even the rabid gnashing of your teeth can escape the banal.
Better to grin at the costumes floating about and accept the perpetual post-Panoptic suspension. I'm on the road, I walk across a large lawn which belongs to a castle or a palace. I know that I have to go inside the palace and I know that I need to find a safe. I want to open that safe. I wondered how the numbers could be, but then I realized: I do not need any combination of numbers, I just have to ask the right question!
A Kodachrome film developed in coffee, vitamin c, washing soda, H2O2, lemon juice. Together with vitamin C, and washing soda it is an incredibly good black and white film developer! It's an invitation to look at what remains, to listen what talks about time. These components are dissolved and recomposed. Thus, film is exhibited as object and material, its physical properties become an aesthetic experience in itself.
The installation consists of a turning film-sculpture that is projected upon and through by two 16mm projectors. The speed and the direction of the turn can be controlled. The sound comes from contact-microphones that are placed on the pro- jectors. We developed Periphery for the Finissage of the Videonale Parcours and later shown it at the t. They are commonly referred to as wayang topeng wayang: shadow or puppet; topeng: mask. It is believed that wayang topeng originated from tribal death rites, where masked dancers were considered the interpreters of the gods.
In the lowest rungs of Javanese society a unique manifestation of these masked traditions can be found. Its practitioners are performers, but they are not merely entertainers. Their aim is not simply to amuse. Their ambition is to be respected, to be honored, to be successful. They have embarked on a path they know will lead to a higher state, to an honorable and noble position.
Lack of budget in the months after the shooting, the coil was misplaced, forgotten Escaped from a moldy cardboard in a story , it was finally revealed in December forty years later! To The Abominable. The generic, internegative, the 16mm copying and scanning has also been made there in Return time. Of the material to the spirit of the material Whether you are a person staring out the window, through the trees, past the clouds and into space, or the proverbial rabbit, caught in the headlights of an oncoming car, you know the feeling of being transfixed.
To convey this feeling on behalf of Cakewalk's tune of the same name, no less than 18 meters of film was hand painted, perforated, stitched and coloured, with all editing done straight to the material itself, using a ruler and a calculator. This organic and highly analogue process has lead to a perfect marriage between a highly hypnotic soundtrack and a brain-freezing visual work. Stay tuned for demonstrations. The meeting of two wanderers. Victim of a love grief, she finds in him the confidant who tell their story. Him, he suffers from loneliness, melancholy, from the city which he feels foreign.
Take this proxy and see that the ghost has become tangible. Time has never been an exact science. The film traces the progress of light from natural to artificial and in the end nothing is left. The link between these two worlds is the filmmaker herself, trying to cope with the otherness of what is seen and the strangeness of the inner experience. Refusing to see at times, unable to make visible. His philosophical work, which amounts to thousands of pages, posits a radical Christianity and contains a wealth of anthropological, cosmological and natural philosophical ideas which have still not been fully explored to date.
The patterns created are a graphical representation of one aspect of perception: the olfactory sense. The grain of one image originates airy particles that impregnate our vision. The images become the smell of night at the coastal town, and the orange tree courtyard in the district of Raval. Each photogram is printed on transparent tape, and glued on clear 16mm leader. Hand-processed 16mm film and the electronic flicker of an old CT computer monitor create degrees of purity, traversed by the dancer's movements.
Orange Trill is a cinedance in which the performance challenges the film to match its moves. All television channels were showing virtual landscapes before the football matches. Music by the band Holopaw. Note: the link above is private. The structure of the film is based on the chemical formula of the Rhus Typhina's developer. The main protagonist of the film is a species of flowering plant in the family Anacardiaceae whose leaves and berries are mixed with tobacco and other herbs and smoked by Native American tribes.
We tried to apply the properties of the Rhus Typhina in the photochemistry. The film captures the research, experiments, harvesting and preparationof the film developer in which latter original negative was developed. The nonlinear structure of the chemical formula as well as nonlinear research of the process are reflected in the order of the frames. There is no post-production except the sound. All editing work was made while film was loaded in the camera before chemical development. Images that are in first instance perceived as abstract turn out to be concrete precipitation from phenomena that surround us in every day life.
The work can be understood as an attempt to undermine the assumption that the natural world and the human world are opposites. It is presented as a humble curation of organic readymades. We hear them learning how to drive and organize a demonstration, with the typical language of African working-class areas.
We see Paris in black and white, in early morning with only few people on the street, in a long and slow, never ending travelling from the outskirts to Velib headquarters in Neuilly. Conscience du spectateur comme du solitaire personnage principal. The text streams through the Film as its lone source of appeasement.
The Film develops through convulsive editing structured by rhythm breaks, jump cuts, alternations between overexposures and burnt film. It is a work of fiction that could equally be a documentary… an experimental logbook of sleepless nights, blind suns, bereavements and loves. But they didn't count on the little mishaps which turn a casual weekend into a small adventure. A road-movie, a comedy. Edison in its original 35mm format, this video-film project is based on a structural re-shooting and re-recording of the original film in all the existing formats: analog, electronic and digital, in an evolutive form.
The film is a reiteration of the act of kissing. The history of the evolution of formats through a kiss. An intimate and aesthetic relationship between media and audiovisual formats. Il est difficile de dire avec certitude si le film traite d'un ou plusieurs tests, d'une ou plusieurs souris — les tests et les animaux nus sont trop semblables.
L'objet devient le sujet, le spectateur un complice. Une fresque d'images. Le malaise s'installe. The filmmaker approaches his life struggles as a dilemma between the filmed and the non-filmed, the translation and the impossibility of communication, the voice-over and the subtitles. Mixing his banal daily life, his past, and the filmmaking process, the filmmaker raises several anthropological and life questions on nature, origin, language, non-existence, identity, visual media and dominant cultures.
He strives to find answers in a circle of interpreting himself in a conflict between oppressed and powerful languages, retranslating what is translated and letting others reinterpret him from both within and without the film. Everything becomes useless when one transcends boundaries inside the mind. Kootstra, a visual artist based in Finland, in collaboration with audio artist Arvid van der Rijt, construct a continuously shifting spatial and immersive environment, with images of natural phenomenon emerging and receding from legibility.
Poesie dimenticate Sheet Music by Piero Pezzè
Flying birds show themselves barely recognizable as we arrive in the dusk. Artificial lights arise and pop up in a dreamlike landscape of light and darkness. From the pulsating film loops, colors start to emerge out of the black and white images. As the last colors disappear, the lights fade away into the darkness again. A film with no means, a recollection of our construction site in Dublin.
The arena of LISP with proud men and a horse. A film for illumination and of inspection; exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice, the crux of increasing light… seen thru apertures…setting over the Pacific. The artist, the action, and the consequent sound, all skirt around the edges of the visible film frame. Audio by Cyrillic Typewriter. This is a film about stories of adventures, travel, diaspora and migration narratives of those who also live on the edge of those roads.
A film about roads and walkers. Following in the footsteps of classic authors such as Gil J. With this series, which starts with the basics of 'cinema' -the light and no light-, even pretend to step over that line of work metric, structuralist, conceptual or references to flicker, etc. But with the addition that fits into a new context, with new technologies, in which his -structure- content of the pattern obtained by its own title that generates your personal QR CODE Quick Response Code , what would be the 'New Barcode'.
The original work is in 16mm film, you can enjoy both its projection through devices that are found in almost all users, as SmartPhones, Tablets, etc. Reading, for projection, is from top to bottom and left to right occidental reading. This disposition celebrates the first of the exhibits as Paul Sharits's 'Frozen Film Frames' in , who honors at its 50th anniversary.
Loup y es-tu? This is the first film I have finished using the 'chromaflex' technique that we developed. This is a novel colour developing procedure that allows selected areas of the film to be colour positive, colour negative, or black and white. A play with light and reflections from abstract to concrete forms. There they burn this brandy. Tastes like vodka and chili. Pretty intense. If you mix it with vitamin C, and washing soda you can develop wonderful movies! Those distorted commercial frames reveal their materiality and take us to another cinematic environment.
Leftovers from original shots become sets for a new experience. Fiction turns organic and rhythm. Screen finally looks like a disturbed and moving luminous painting. Sans-titre 24xH2o shows the projection materials technique by placing it in the middle of the audiences. The projector mechanics frees its own energy that also fill the screening room. Images and movements on the films were originally produced working on a cathodic tv screen and a digital camera and then mixed in projection with other images shot directly on super8 film in order to produce some sort of short circuits between different technologies and in the same time some parallelism between different events.
Wahn The story, which takes place years in the future, tells of the character of The Admiral as he searches for the land of the Dog People and the riches that it hides. Before the end of the month the cloud had dispersed and life seemed to return to normal. One month later, however, the town was hastily abandoned and its residents were nowhere to be found. They left most of their belongings behind in such a way as to make one think they would return at any moment.
The search that followed led investigators to a cave on the outskirts of town. Inside the cave a number of homemade contraptions were discovered. Connected by a variety of mirrors and fitted with a wide array of lenses, they were found to form a large projection device. Even though at first sight it appeared to be either unfinished or broken, it was eventually determined to be in working order. When it was turned on it projected a series of images onto every surface of the cave. Initially the source of the images could not be established, yet upon further examination it was found that the images were engraved directly on the lenses of the machine.
Along with the machine a sheet of paper covered in handwritten text was also found. It was titled Wolkenschatten. For the sake of preservation the engraved images were transferred onto 35mm slide film. Copies of the text and images were made and archived together. We have been lucky enough to obtain one of these sets. Additional animation hand-painted at our studio in Berlin. A limited edition vinyl release of numbered copies available at nokoana.
In both these novels the theme of time is central — and the film too, in content and form, is a meditation on the phenomenon of time. The work of Sector 16 in this film was to create this "homemade movie" from the beginning of filmmaking. The 16mm-sequences are used as a guiding theme in this film. Shot on Super 8 mm film and hand processed. Fly face its end. Sweep along bridges or run dry fountains.
Deaf are the gellinottes Black mouth, dry throat Drench the ground to the bone, Like a beef wolf wheat down Small valley in the rain, Lantern on a nail. My last roll of Ektachrome to commemorate an important day when two became unified in the act of giving. The film experiments with this legal document and personalizes the process. Working in darkness the filmmaker wrote out his Last Will and Testament onto unexposed 35mm black and white film using a flashlight. The footage is then transferred to 16mm film, presenting the advertised technologies of coincidentally, the first year a digital image was ever generated through simultaneous analog and digital lenses; collapsing history to comment on the changing terminologies of lens-based practice.
Condensation and repetition of the past, these fleeting moments captured and forgotten. Made on home brew emulsion and color toned with the helping hand of technical publications from early cinema and photographic experiments. The home brew emulsion as fragile metaphor for the heroism of Konrad and his horse Kurfurst. Falling from his horse he became a national hero but overtaken by history, an anti-hero.
The film targets what constitutes the sensitive framework of an existence at a time of rupture; that which is the smallest, the most common, far from exoticism, but haunted by a dream, like an exhortation. It is not a film about emigration or revolution, it is an essay on freedom, or rather an essay that stages freedom: a real and fictitious attempt to escape which involves the making of a film, taking part in the process of emancipation: burning the sea, borders, laws, papers, etc. Besides the sound of the projectors you can hear the original sound of the first encounter of Luke Skywalker and Darth Vader taken from the movie Star Wars Episode V.
The cinematic space is transferred into the blackbox, in which the audience is allowed to have a new perception of the familiar movie scene. The lightbeams become the Jedi-lightsabers due to the combination of the light and sound in the mind of the audience. The film tries to render an account of a personnal vision of the piece through the interpretation of a double bass player and the view of the two filmmakers. Tireless car traffic. In the margins of a society launched at top speed, some lurking engines shutdown to make a living ; Jugglers at intersections, employees on breaks, whose precise and repetitive work mark the flow of time which is always repeated.
The approach to the figurative elements branches, leaves, trees, bushes, birches, heaven are transformed by different optical effects to stand between the lyrical and the abstract. Its biggest advantage is that the soundtrack is on the same support as the celluloid, to one side of the strip of film.
That means that it never goes out of synch with the image. It is converted from electrical impulses collected by photocells that modulate the light beam, etching black marks on the celluloid that correspond to peaks and valleys. The process shows us that in film, in other words on celluloid, sound is also image. Miguel Aparicio takes this premise and probes it by filming the horizon line in his hometown. The peaks and valleys between the various buildings on the skyline are profiled and duplicated upside down, arriving at marks similar to those drawn by a photocell.
In this place there's also another presence, someone who's very similar to the Traveler. Does the Traveler realize this figure that cohabits the same space as him? Is the other a guardian angel or a devil? About the film In the Traveler's Heart was produced during an artist-in-residence program in Nida, Lithuania. During 9 weeks in the winter of the artists wrote the story, scouted locations, manufactured the costumes and props, built the scenery, recorded sounds and finally shot the film.
The 16mm negative was processed parallel to the shooting, in a self-made laboratory. A hand made film, made by four hands. I was interested in the transitory nature of a residency, and what we as artists were searching for by coming there. I feel that the experience was a surreal, altered state of reality, and I am interested in why this is so appealing. In the midst of conducting interviews with my fellow artists, we were also developing alternate identities for ourselves as part of our performance art dance troupe, Lumi Crew.
This work functions as a portrait of each artist individually, while also striving to understand the drive to create and the elusive dream of the "Art Life". This work is the third in a series of films in which the artist explores themes of death, nostalgia, memory, post-memory and autobiography by trying to make sense of the suicide of her father. The family summer home where both the artist and her father grew up is the catalyst for these themes. This very fast film is an urban trip inspired by concept of "derive" by Situationist International.
A tactile vision. A journey through a bizarre pupil at the limit between the natural and the synthetic. A synthesis suggested by the chromatic one of the title induced by music. Super8 films are prepared by scratching and patching, piercing and ink drawing to be used in a multiple projection at different speeds. The projection is then manipulated with glass, prisms, lens and mirrors. The projectors and their internal mechanics are also used as sound producing objects in relation with voice and electroacoustic stuff. Maybe this gossip in which I was involved would have ended, after milleniums of incidents played in loop.
This time circularity was still a secret, and my short life was for me a a straight segment which the two ends absurdly pointed toward infinity. Starting point and inspiration for the film are the mill paintings of Piet Mondriaan, especially Rode Molen. In the film color is created by multiple exposures through different masks during printing. Depending what developing process is used the colors mix in two ways: additive or subtractive.
A woman's voice sketches out an enigmatic romance while the camera gets lost in the patterns of sunlight on windswept leaves and water. Shot on super 8, a medium uniquely suited to finding unexpected shapes in the familiar world, the film ultimately abandons nostalgia and memory for a moment suspended in the eternal present.
year in blogging | Marisa Moles's Weblog
Seated at the table Musil revealed that they were going to summon the ghost of Franz Anton Mesmer, discoverer of animal magnetism and forefather of hypnosis. Musil told Freud about a series of dreams he had which involved a talking flea. Musil, who had secretly become a follower of the imaginationist school of animal magnetism wanted to question Mesmer as to the meaning of these dreams, in which said flea foretold of impending catastrophes all over Europe.
It is said that Mesmer obligingly appeared and spoke in a repetitive and oblique manner. Legend has it that he who could piece together the text would find instructions for the assembly of a film. This last prelude is a tribute to the Greek musician Lena Platonos. In a place thick with stray cats and scooters, cops and Molotovs, ancient myths and new ruins; where fists are raised like so many columns in the Parthenon, this is a film of surfaces - of grafitti'd marble streets and wheat-pasted city walls - hand-processed in red, green, and blue. Inspired by the letter and spirit of the 24 preludes that polish musician composed on the island, I draw a line through the Majorcan countryside, looking for spots where nowadays still is possible to feel the echo of that primal romanticism that I also suffered.
I designed and built this installation in the style of those early entrepreneurs and showed it publicly for the first time in a storefront the late Trench Gallery just steps from the storefront where the first movies in Vancouver BC were ever shown. It was before you came to Amherst. My friend was Sophia Holland. But at length Reason fled and the physician forbid any but the nurse to go into her room.
Then it seemed to me I should die too if I could not be permitted to watch over her or even to look at her face. I took off my shoes and stole softly to the sick room. I told no one the cause of my grief, though it was gnawing at my very heart strings. Your aff. Emily E Dickinson. Please not let S. It is only for you. I shall show it to no one else, of course, as I never show any of the letters of the 'five' to any one but Abby as she is one of them. You ask me to excuse the freedom of your letter Dear A. Now as a last warning, Dear A. Dont forget to come home with Sabra for it would so bitterly dissappoint us if you should not come.
Sono sola davanti alla mia piccola scrivania, e vorrei scriverti notizie gioiose come quelle contenute nella tua lettera. Magari non avessi ascoltato le sue parole seducenti! I pochi e brevi momenti in cui amai il mio Salvatore non li cambierei per mille mondi come questo. Decisi di dedicare la vita intera al suo servizio e desideravo che tutti potessero gustare quel flusso di acqua vivente con cui spegnevo la mia sete. Ma il mondo mi allettava e in un momento di disattenzione ascoltai la sua voce di sirena.
Da quel momento sentii che stavo perdendo gradualmente il mio interesse per le cose celesti. La preghiera dalla quale avevo tratto tanta gioia divenne una fatica e la piccola cerchia che si riuniva per pregare si vide privata di uno dei suoi membri. Alcuni amici discutevano con me e mi avvertirono del pericolo che stavo correndo di rattristare il Santo spirito di Dio. E se dovesse estendere la sua influenza alla chiesa del villaggio e alle tue amiche A. Quando rifletto seriamente su queste cose mi sento come il Dr Young quando esclamava, Oh!
La moglie aveva sopportato una lunga malattia di due o tre anni senza un lamento. Si appoggiava interamente al braccio di Dio e lui non l'ha abbandonata. Mi dolgo sinceramente con te Cara A. Non rammento di averti mai sentita parlare delle sue convinzioni religiose ma spero che il suo tesoro fosse in cielo. Che colpo per le amorevoli speranze dei suoi genitori e amici dev'essere stata la sua morte. Fu prima che tu venissi ad Amherst.
La mia amica era Sophia Holland. Andavo spesso a trovarla mentre era malata e vegliavo al suo capezzale. Alla fine il dottore disse che sarebbe morta e mi permise di guardarla per un momento attraverso la porta aperta. Mi tolsi le scarpe ed entrai furtivamente in quella camera di dolore. Non dissi a nessuno la causa del mio dolore, sebbene mi stesse corrodendo le fibre del cuore. So quali debbono essere stati i tuoi sentimenti alla sua morte, e mi rallegro che tu abbia consolazione dall'alto per sopportarla con rassegnazione.
La tua aff. Ti prego di non permettere a S. Ho portato la tua lettera ad Abby, e l'abbiamo letta insieme. Sabra dice che hai un Piano nuovo e me ne rallegro. Viny dice, esprimi il mio affetto a Biah - come ti chiama lei sempre e tutte le ragazze ti mandano tanto affetto.
Ora come ultimo avvertimento, Cara A. Friday Eve. It seems to me that Time has never flown so swiftly with me as it has the last spring. So you may imagine that I have not had a spare moment, much though my heart has longed for it, to commune with an absent friend. We charged Sabra when she visited you at F. Why did you not come, dear A. Not at all!! Was not that a contrivance? I presume you will be wondering by this time what I am doing to be in so much haste as I have declared myself to be. Well, I will tell you. I am fitting to go to S.
Are you not astonished to hear such news? You cannot imagine how much I am anticipating in entering there. But it is my nature always to anticipate more than I realize. I am now in school going over the Junior studies as I wish to enter the Middle Class. I hope we shall get you all back again before Miss Adams goes away again. Have you yet heard a word from that prodigal - Hatty Merrill.
I cannot bear to think she has forgotten the many happy hours we used to pass together in each other's society. I hear from Sarah once in a long while. You know Sarah is an obedient daughter! Do write me soon, dear A. Friend Emily E. I send you a memento in the form of a pressed flower which you must keep. Have you seen a beautiful piece of poetry which has been going through the papers lately? Are we almost there? I have been learning a beautiful thing which I long to have you hear.
Non puoi immaginare quanto sia stato crudele il disappunto mio e di Abby per la tua mancata visita la scorsa primavera. Avevamo progettato tantissime piacevoli escursioni - e un sacco di divertimenti in previsione del tuo arrivo. Abby ti voleva a casa sua per parte del tempo, io per l'altra parte, e Sabra voleva averti - quanto? Mi sto preparando ad andare al S[outh] Hadley Seminary e se non ci saranno problemi di salute conto di iscrivermi per un anno a quell'istituto dal prossimo autunno. Non sei stupita di apprendere una tale notizia? Per adesso sono a scuola per fare ripetizioni sulle materie della Prima classe visto che voglio iscrivermi alla Seconda.
Spero che saremo di nuovo riunite prima che Miss Adams vada via un'altra volta. Hai avuto notizie dal figliuol prodigo - Hatty Merrill? Io no, e comincio a pensare che ci abbia del tutto dimenticate. Non posso sopportare di pensare che abbia dimenticato le tante ore felici che passavamo in compagnia l'una dell'altra. Ho avuto notizie da Sarah una sola volta in tutto questo tempo. Ma lei ha risposto che avrebbero avuto una riunione familiare questa estate e suo padre desiderava che passasse l'estate con loro. Scrivimi presto, cara A. Amica Emily E. Ti mando un memento in forma di fiore seccato che devi conservare.
Le sue conferenze erano a ingresso libero e trattavano della condizione attuale degli Ebrei. Il dr. Ho imparato una cosa bellissima che voglio farti sapere. Washburn, pastore della "First Church" fino al , anno della sua morte. Berk, che tenne conferenze ad Amherst il 18, 21 e 22 giugno My dear friend Abiah. Did I say? No not happy, but contented. Perhaps you might like to know how I have spent the time here.
Have you ever been to Mount Auburn? If not you can form but slight conception - of the "City of the dead. Also articles of chinese manufacture of an innumerable variety deck the rooms. Two of the Chinese go with this exhibition. They have now entirely overcome the practice. There is something peculiarly interesting to me in their self denial. It needed great command over my risible faculty to enable me to keep sober as this amateur was performing, yet he was so very polite to give us some of his native music that we could not do otherwise than to express ourselves highly edified with his performances.
He never fails to give his card besides to the person [s] who wish it. I am not now taking lessons but I expect to when I return home. Does it seem as though September had come? Eternity only will answer. With how much emphasis the poet has said, "We take no note of Time, but from its loss. T'were wise in man to give it then a tongue. They can tell. Part with it as with life reluctantly. For God has said. I am not unconcerned Dear A. But I feel that I have not yet made my peace with God.
I am still a s[tran]ger - to the delightful emotions which fill your heart. I do not feel that I could give up all for Christ, were I called to die. Pray for me Dear A. Why do you not come to Amherst? Will you not? There have been many changes in Amherst since you was there. She will write you soon. Dont forget -!!!!! She may be there now for ought I know. Do you not think it has been unusually hot the past summer. I have really suffered from the heat the last week. I think it remarkable that we should have such weather in September.
There were over deaths in Boston last week, a great many of them owing to the heat. I do love Mr. I could hardly refrain from singing Auld Lang Syne. Have you forgotten the memorable ride we all took with Mr Taylor, "Long, Long, ago. No, not a word. How glad I should be to find you in A. Have you any flowers in Norwich? My garden looked finely when I left home. It is in Viny's care during my absence. Austin entered college last Commencement. Only think!!!!!! I have a brother who has the honor to be a Freshman - Will you not promise me that you will come to Commencement when he graduates? Viny told me if I wrote you while I was gone to give her best love to you.
I have altered very much since you was here. Do you believe we shall know each other when we meet. Dont forget to write soon. Boston, 8 settembre Mia cara amica Abiah. Ma molte circostanze impreviste hanno causato il mio lungo ritardo. Ho avuto una tosse acuta per parecchie settimane accompagnata dal mal di gola e da una debolezza generale. Ho lasciato la scuola e non ho fatto nulla per alcune settimane salvo che vagare a zonzo per i campi. Ora mi sono liberata della tosse e di tutti le altre spiacevoli sensazioni e sto davvero bene e in forze. La salute influiva sul morale e sono stata molto depressa per qualche tempo, ma stare di nuovo bene mi ha fatto recuperare il mio umore consueto.
Il Babbo e la Mamma pensavano che un viaggio mi avrebbe fatto bene e, di conseguenza, sono partita per Boston due settimane fa. Che ho detto? No, non felice, ma contenta. Oggi sono due settimane che sono qui e in questo periodo ho visto e sentito tantissime cose stupende. Ho assistito a due concerti, e a una Esposizione di Orticoltura. Sono stata in cima al Municipio e in quasi tutti i posti che possano venirti in mente. Sei mai stata a Mount Auburn? Sembra come se la Natura avesse plasmato questo luogo con una precisa intenzione in vista del suo ruolo di ultima dimora per i suoi figli, dove stanchi e delusi potessero stendersi sotto gli ampi cipressi e chiudere gli occhi "calmi come per un riposo notturno o come i fiori al calare del sole.
Due cinesi fanno da guida nell'esposizione. Entrambi erano ricchi e non costretti a lavorare ma erano anche Mangiatori d'Oppio e temendo di continuare in quel vizio fino a distruggere le loro vite ma incapaci di rompere la "ferrea catena dell'abitudine" nella loro terra hanno lasciato la famiglia e sono venuti in questo paese. Ora hanno completamente sconfitto il vizio. Il Musicista suonava due dei suoi strumenti accompagnandoli con la voce. Inoltre non manca mai di dare il suo biglietto alle persone che lo desiderano. Mi sono procurata uno dei suoi biglietti per Viny e uno per me e li considero molto preziosi.
Sei sempre a Norwich a studiare musica? Con quale enfasi disse il poeta: "Non ci accorgiamo del Tempo, ma della sua perdita. Sarebbe saggio per l'uomo dargli voce. Essi potranno dirvelo. Separatevi da lui come dalla vita, con riluttanza. Non sono indifferente Cara A.
Ma sento che non ho ancora fatto pace con Dio. Sono sempre estranea - alle deliziose emozioni che ti riempiono il cuore. Sento che non potrei rinunciare a tutto per Cristo, se fossi chiamata a morire. Prega per me Cara A. Desidero tanto rivederti ancora una volta, per stringerti fra le braccia e raccontarti tutte le cose che si sono venute a sapere da quando te ne sei andata.
Vieni e fammi una lunga - lunga visita questo autunno. Ci sono stati molti cambiamenti ad Amherst da quando eri qui. Molti che allora erano in fiore sono stati chiamati per il bilancio finale e "i dolenti si aggirano per le vie. Abby ed io parliamo molto delle ore felici che passavamo insieme a te, Sarah e Hatty Merrill. Scrivimi presto Cara A e fa che sia una lunga - lunga lettera. Non dimenticartene -!!!!! Sabra Palmer stava bene l'ultima volta che l'ho vista e parlava di andare a Feeding Hills. Non credi che la scorsa estate sia stata eccezionalmente calda?
Ho davvero sofferto per il caldo torrido la scorsa settimana. Penso che aver avuto un tempo simile a settembre sia degno di nota. Sembrava di essere tornati ai vecchi tempi nel vedere di nuovo Miss Adams e Mr Taylor insieme. Mi sono trattenuta a malapena dal cantare Auld Lang Syne. Ti sei scordata della gita memorabile che abbiamo fatto con Mr Taylor, "Tanto, Tanto, tempo fa. Sarah scrive di ottimo umore e credo che sia molto felice. Quanto sarei contenta se potessi trovarti ad A. Non ti ricordi che era il giorno in cui tornavo da Boston quando ti ho incontrata per la prima volta e mi sono presentata senza tante cerimonie?
Hai fiori a Norwich? Il mio giardino appariva magnifico quando sono partita. Solo a pensarci!!!!!! Ti prego! Sono cambiata molto da quando eri qui. Ora sono molto alta e porto vestiti quasi lunghi. Credi che ci riconosceremo l'una con l'altra quando ci incontreremo? Non scordarti di scrivere presto. Sabbath Eve. My dear Abiah. When I last wrote you I was in Boston, where I spent a delightful visit of 4 weeks. We now have a fine school. I thank you a thousand times for your long and affectionate letter which I should have answered long before this if I could have found time to do so.
I did really intend to follow your "good example" but I have had a great deal to do since I returned. However, I am happy to inform you, my dear friend, that I have nearly finished my sewing for winter, and will answer all the letters which you shall deem worthy to send so naughty a girl as myself, at short notice. Are you never coming to Amherst? Why can you not come at Thanksgiving time, or at least after snow comes.
Write soon, your aff. Emily E. Have you yet heard from dear Harriet? I have not. How I wish we could all meet at Thanksgiving time. How much we should have to say of the times that are gone. Write very soon. Domenica Sera. Mia cara Abiah. Quando ti ho scritto l'ultima volta ero a Boston, dove ho trascorso un soggiorno delizioso di 4 settimane. Per una volta nella vita ho mantenuto i miei buoni propositi, e ho cucito, mi sono esercitata al Piano, e ho aiutato la mamma nelle faccende di casa. Ora abbiamo una scuola eccellente.
Ti ringrazio mille volte per la tua lunga e affettuosa lettera alla quale avrei risposto molto prima di questa se avessi trovato il tempo per farlo. Intendevo davvero seguire il tuo "buon esempio" ma ho avuto un gran da fare da quando sono tornata. Non vieni mai ad Amherst? Scrivi presto, la tua aff. Abby ti manda un sacco di affettuosi saluti, e anche un biglietto che accludo. Io no. Quanto mi piacerebbe poterci incontrare per il Giorno del Ringraziamento.
Quante cose avrei da dire dei tempi passati. Scrivi subito. Sabbath Eve, Ever dear Abiah. Surely you will forgive me this once! I suppose that your term at Miss C[ampbell]'s school is near its close, if it has not already closed. Our term in the academy has closed. Woodbridge - daughter of Rev. We all love her very much. Perhaps a slight description of her might be interesting to my dear A.
Forgive my glowing description, for you know I am always in love with my teachers. It is indeed true, that she is to be married. Are you not astonished? Nothing was known, but that she was to return to school, until a few days before she left for Syracuse, where she has gone to make her "wedding gear. You cannot imagine how much I enjoyed your description of your Christmas fete at Miss Campbell's.
I have heard nothing from etiher of them this age. However time will decide. She thinks Hatty is so busy that she cant get time to write any of us. But if so busy why does she not send us a paper or speak of us when she writes her grandmother? There is a mystery about her silence to me.