{ art & other musings }

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Thursday, September 9, 2010

Burial



"Inspired by the darkside drum'n'bass of the Metalheadz label, Burial decided at the outset to avoid at all costs the rigid, mechanistic path that eventually brought drum 'n' bass to a standstill. To this end, his percussion patterns are intuitively arranged on the screen rather than rigidly quantized, creating minute hesitations and slippages in the rhythm. His snares and hi-hats are covered in fuzz and phaser, like cobwebs on forgotten instruments, and the mix is rough and ready rather than endlessly polished. Perhaps most importantly, his basslines sound like nothing else on Earth. Distorted and heavy, yet also warm and earthy, they resemble the balmy gust of air that precedes an underground train." - Derek Walmsley, journalist

Friday, September 3, 2010

visual poetry

capturing life as a reflection

Andrei Tarkovsky




Tarkovsky interviewed by Tony Mitchell; Sight&Sound 1982
T: The film clips which I am showing represent what is closest to my heart. They are examples of a form of thought and how this thought is expressed through film. In Bresson's Mouchette the way in which the girl commits suicide is particularly striking. In Seven Samurai, in the sequence in which the youngest member of the group is afraid, we see how Kurosawa transmits this sense of fear. The boy is trembling in the grass, but we don't see him trembling, we see the grass and flowers trembling. We see a battle in the rain and when the character played by Toshiro Mifune dies we see him fall and his legs become covered with mud. He dies before our eyes.

[...]

T: To me cinema is unique in its dimension of time. This doesn't mean it develops in time — so do music, theatre and ballet. I mean time in the literal sense. What is a frame, the interval between "Action" and "Cut"? Film fixes reality in a sense of time — it's a way of conserving time. No other art form can fix and stop time like this. Film is a mosaic made up of time.