PETER HUTTON IN THE ELEMENTS
Monday 29 October 2007, at 7:00pm
London Tate Modern

NEW YORK PORTRAIT: CHAPTER 2
Peter Hutton, 1980-81, 16mm, b/w, silent, 16 min
The second part of an extended life’s portrait of New York.

“Hutton’s black and white haikus are an exquisite distillation of the cinematic eye. The limitations imposed – no colour, no sound, no movement (except from a vehicle not directly propelled by the filmmaker), no direct cuts since the images are born and die in black – ironically entail an ultimate freedom of the imagination. If pleasure can disturb, Hutton’s ploys emerge in full focus. These materializing then evaporating images don’t ignite, but conjure strains of fleeting panoramas of detached bemusement. More than mere photography, Hutton’s contained-with-in-the-frame juxtapositions are filmic explorations of the benign and the tragic.” (Warren Sonbert)

BOSTON FIRE
Peter Hutton, 1979, 16mm, b/w, silent, 8 min
“Boston Fire finds grandeur in smoke rising eloquently from a city blaze. Billowing puffs of darkness blend with fountains of water streaming in from off-screen to orchestrate a play of primal elements. The beautiful texture of the smoke coupled with the isolation from the source of the fire erases the destructive impact of the event. The camera, lost in the immense dark clouds, produces images for meditation removed from the causes or consequences of the scene. The tiny firemen, seen as distant silhouettes, gaze in awe, helpless before nature’s power.” (Leger Grindon, Millennium Film Journal)

IMAGES OF ASIAN MUSIC (A DIARY FROM LIFE 1973-74)
Peter Hutton, 1973-74, 16mm, b/w, silent, 29 min
“Images of Asian Music represents footage compiled during 1973-74 when Peter Hutton was living in Thailand and working at sea as a merchant seaman. While the film is silent, the title was intended to evoke a comparison to the movement of classical Asian music. Images of Asian Music is a personal celebration of Asia formed by a sensitivity to filmic composition and to the perception of these images in a silent time created by the filmmaker.” (Whitney Museum of American Art)

“The camera records a ship working out of Thailand, the faces of the seamen, the sea, a storm, fireworks, a big snake coiling exploratorily about a young girl, the huge Buddha in the lotus position and landscapes and skyscapes reminiscent of the film work of Satyajit Ray. It is beautiful, mute, and meaningful in the silence.” (Archer Winston, New York Post)

LANDSCAPE (FOR MANON),
Peter Hutton, 1986-87, 16mm, b/w, silent, 19 min
“Much of the imagery in Landscape (for Manon) is suggestive of Thomas Cole’s Catskill paintings – some of Hutton’s imagery was made in and around Kaaterskill Clove. In general, the film recalls those Cole paintings usually seen as forerunners of Luminism – ‘The Clove’, ‘Catskills’ (1827), for example, and ‘Catskill Creek’ (1845) – though the sensibility it reflects and the experience it provides is quite close to Fitz Hugh Lane, Martin Johnson Heade and John Frederick Kensett. Landscape (for Manon) is made up of twenty-two shots. The first and last shots frame the film as a tribute to Hutton’s young daughter, Manon: in the film’s delicate and arresting final shot, we see her face in close-up, double exposed with mottled light.” (Scott MacDonald, The Garden in the Machine)

IN TITAN’S GOBLET
Peter Hutton, 1991, 16mm, b/w, silent, 10 min
In Titan’s Goblet refers to a landscape painting by Thomas Cole circa 1833. The film is intended as an homage to Cole, who is regarded as the father of the Hudson River School of painting.

“Like Landscape (for Manon), In Titan’s Goblet depicts, in a series of often-stunning, silent, black and white, discrete images the Catskill Mountain area. In this case, however, a sequence of lovely images of what at first appears to be mist in the mountains is slowly revealed to be a distant fire of rubber tires that had burned out of control. That is, Hutton’s serene, evocative landscapes are, in this instance, qualified by an environmental problem – one that confronts our hunger for imagery of pristine nature.” (Scott MacDonald)

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CINEMA FOR THE EYES AND EARS
London Roxy Bar and Screen
Tuesday 30 October 2007, at 8pm

ARNULF RAINER
Peter Kubelka, Austria, 1958, 35mm, b/w, sound, 8 min
“He has even created a film whose images can no more be ‘turned off’ by the closing of eyes than can the soundtrack thereof it (for it is composed entirely of white frames rhythming thru black inter-spaces and of such an intensity as to create its pattern straight thru closed eyelids) so that the whole ‘mix’ of the audio-visual experience is clearly ‘in the head’, so to speak: and if one looks at it openly, one can see ones own eye cells as if projected onto the screen and can watch one’s optic physiology activated by the soundtrack in what is, surely, the most basic Dance of Life of all (for the sounds of the film do resemble and, thus, prompt the inner ear’s hearing of its own pulse output at intake of sound).” (Stan Brakhage)

YYAA
Wojciech Bruszewski, Poland, 1973, 35mm, colour, sound, 5 min
“The author of the film (appearing on the screen) is shouting “YAAAH…” The light comes from four sources being switched at random (this takes between 1 and 8 seconds) by an electronic device. In any moment, only one of the four lamps casts light on the filmmaker. Each light-change is accompanied by a different voice modulation of the author’s voice. The film technique makes it possible for the author to exhale for several minutes. The alternating close-ups and half-close-ups are totally unjustified.” (Wojciech Bruszewski)

SPEAK
John Latham, UK, 1968-69, 16mm, colour, sound, 11 min
“Speak is his second attack on the cinema. Not since Len Lye’s films in the thirties has England produced such a brilliant example of animated abstraction. Speak burns its way directly into the brain. It is one of the few films about which it can truly be said, ‘it will live in your mind’.” (Ray Durgnat)

BERLIN HORSE
Malcolm Le Grice, UK, 1970, 16mm, colour, sound, 8 min
“Berlin Horse is a synthesis of a number of works which explore the transformation of the image by re-filming from the screen and by complex printing techniques. There are two original sequences: a piece of early newsreel and a section of 8mm film shot in Berlin – a village in Northern Germany. The 8mm material is re-filmed in various ways from the screen onto 16mm and that in turn used for permutative superimposition and color treatment in the printer. The music is composed for the film by Brian Eno and like elements of the image, explores off-setting loops with each other so that their phases shift.” (Malcolm Le Grice)

THE DIVINE MIRACLE
Daina Krumins, USA, 1973, 16mm, colour, sound, 5 min
“An intriguing composite of what looks like animation and pageant-like live action is The Divine Miracle, which treads a delicate line between reverence and spoof as it briefly portrays the agony, death and ascension of Christ in the vividly coloured and heavily outlined style of Catholic devotional postcards, while tiny angels (consisting only of heads and wings) circle like slow mosquitoes about the central figure. Ms. Krumins tells me that no animation is involved, that the entire action was filmed in a studio, and that Christ, the angels and the background were combined in the printing. She also says it took her two years to produce it.” (Edgar Daniels)

AXIOMATIC GRANULARITY
Paul Sharits, USA, 1972-73, 16mm, colour, sound, 20 min
“In Spring 1972 a series of analyses of colour emulsion ‘grain’ imagery was undertaken (the word ‘imagery: is significant because only representations of light sensitive crystals, or ‘grain’, remain on a developed roll of colour film). The investigation is preliminary to the shooting of Section 1 of “Re: Re: Projection”, Variable Emulsion Density, wherein attempts to construct convincing lap dissolves of solid colour fields with straight fine grain Ektachrome ECO proved unsatisfactory. It was thought that more ‘grainy’ colour field interactions might adequately prevent the undesirable smoothness of hue mixture resulting from ECO superimposition. A discreteness of individual hues, during superimposition, is necessary; then, a switch to Ektachrome EF, pushed extra stops in development, seemed somewhat reasonable. Still, unexpected (colour blurring) problems arose and it was clear that a ‘blow up’ of the situation was called for; a set of primary principles was needed and, particle by particle, Axiomatic Granularity seemed to formulate itself. Its ‘structure’ lacks normative ‘expressive intentionality’.” (Paul Sharits)

DRESDEN DYNAMO
Lis Rhodes, UK, 1974, 16mm, colour, sound, 5 min
“The result of experiments with the application of Letraset and Letratone onto clear film. It is essentially about how graphic images create their own sound by extending into that area of film which is ‘read’ by optical sound equipment. The final print has been achieved through three separate, consecutive printings from the original material, on a contact printer. Colour was added with filters on the final run. The film is not a sequential piece. It does not develop crescendos. It creates the illusion of spatial depth from essentially flat, graphic, raw material.” (Tim Bruce)

STRAIGHT AND NARROW
Tony & Beverly Conrad, USA, 1970, 16mm, b/w, sound, 11 min
“An extension of the flicker film phenomenon, Straight and Narrow is a study in subjective colour and visual rhythm. Although it is printed on black and white film, the hypnotic pacing of the images will cause viewers to experience a programmed gamut of hallucinatory colour effects. Straight And Narrow uses the flicker phenomenon not as an end in itself, but as an effectuator of other related phenomena. In this film the colours which are so illusory in The Flicker are visible and under the programmed control of the filmmaker. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.” (Film-Makers’ Cooperative catalogue)

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SYSTEMS OF NATURE: RECENT INSTALLATIONS BY CHRIS WELSBY
6 November – 13 December 2007
London Central Saint Martins College Lethaby Gallery

LOST LAKE #2
Chris Welsby, UK-Canada, 2005, video installation, colour, sound, loop
The imagery comprises a series of eight, three-minute takes, all shot at the same oblique angle to the surface of a small alpine lake. The water surface fills the frame. A constantly changing pattern of ripples plays across the water surface, which reflects an inverted image of trees and rocks on the opposite shore. The eight three-minute takes, recorded over a period of several hours, depict the complex variations in the water surface as the breeze rises and falls. The image of the lake is projected, via a surface silvered mirror, onto a horizontal screen measuring approximately 10ft x 9ft and raised about 18 inches above the gallery floor. Seen from a distance, the surface of the water appears to be miraculously suspended in mid air. Close up, the raised screen gives the water the appearance of having depth. (Chris Welsby)

AT SEA
Chris Welsby, UK-Canada, 2003, 4 channel video installation, colour, sound, loop
A number of video shots of the coast of British Columbia are projected side by side to form a single, continuous moving image. This image contains elements such as ships, buoys, floating driftwood, tree covered islets, sea birds, open ocean, and drifting fog banks. The dominant colour is grey; grey infused with a multitude of ocean blues and greens. The overall feel is somber and mysterious; a study of winter light falling on the surface of water and cloud; an evocative portrait of the Pacific North West. (Chris Welsby)

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SYSTEMS OF NATURE
Wednesday 7 November 2007, at 8:40pm
London BFI Southbank NFT2

ANEMOMETER
Chris Welsby, UK, 1974, 16mm, colour, silent, 10 min
The location for this film is a small London park called Euston Square which is situated close to the busy centre of the city. The camera faces south east across the park, in the foreground there is an expanse of grass surrounded by walkways and luxurious plain trees. In the middle distance is a junction of the busy Euston road, trucks busses and commuter traffic surge past halting only for the traffic lights. The camera angle remained unchanged throughout but the filming speed changed according to the wind speed. The camera motor was driven by an anemometer, a device used to measure wind speed, the harder the wind blew, the faster the camera motor ran, and vice versa. If the wind stopped blowing altogether, no images were recorded, causing a jump cut in the film’s continuity. (Chris Welsby)

TREE
Chris Welsby, UK, 1974, 16mm, colour, silent, 5 min
The camera was placed on the flexible branch of a tree in a strong wind. The composition included both stationary and moving trees (a wooded landscape). The relationship of this landscape to the vertical and horizontal plane was maintained as much as possible. The camera ran continuously until all the film was exposed. The world is seen from the point of view of a tree as its branches sway to the rhythm of the wind. (Chris Welsby)

COLOUR SEPARATION
Chris Welsby, UK, 1975, 16mm, colour, silent, 3 min
This film is based on the colour separation process. High contrast film stock was run three times through a stationary camera; once for each of the light primaries. In the composite image, anything moving is represented in primary or secondary colour whilst anything still, having been filmed through all three filters, is represented in ‘correct’ colour. When projected the film resembles a moving impressionist painting in which time is seen to participate in the construction of the colour image. (Chris Welsby)

STREAM LINE
Chris Welsby, UK, 1976, 16mm, colour, sound, 8 min
This film was made on Mount Kinderscout in Derbyshire, England. It is a continuous, ‘real time’ tracking shot of a stream bed. The length of the track was ten yards. The camera was suspended in a motorized carriage running on steel cables three feet above the water surface. The camera pointed vertically downwards recording the contours of the stream bed and the flow of water along its course. The sound of the water was recorded synchronously from the moving carriage. The ‘drama’ in this film comes from the topography of the stream and not from the camera motion or from the editing. Throughout the unedited length of the film the camera tracks along a straight line at an absolutely regular speed. In contrast the stream runs fast and slow, cascading over boulders and swirling turbulently from left to right. (Chris Welsby)

SKY LIGHT
Chris Welsby, UK, 1988, 16mm, colour, sound, 26 min
An idyllic river flows through a forest, flashes of light and colour threaten to erase the image, bursts of short wave radio and static invade the tranquillity of the natural sound. The camera searches amongst the craggy rocks and ruined buildings of a bleak and windswept snowscape, a Geiger counter chatters ominously in the background. The sky is overcast at first but gradually clears to reveal a sky of unnatural cobalt blue … This film is made in three sections, each leading towards the final abstraction, and each resembling a search for meaning and order amidst a plethora of electronic, chemical and mechanistic information. Space in Sky Light is both highly compressed and volatile; the film challenges the notion of its own form, ending in a beautiful but violent abstraction in which only nature and technology remain. (Chris Welsby)

DRIFT
Chris Welsby, UK-Canada, 1994, 16mm, colour, sound, 17 min
The overall feel of Drift is sombre and mysterious; a study of winter light falling on the surface of water, metal and cloud. The dominant colour is grey; grey infused with a multitude of ocean blues and greens. There is little land in this film and very few landmarks from which to navigate from one space to the next. The picture plane is in continuous motion like the ocean which, on the surface at least, is the subject of Drift. On one level, Drift is a film about the ocean, about winter light and about ships at anchor in a sheltered bay. However, it is also a metaphor, an essentially filmic metaphor about time and space, about being and perception, a metaphor for the act of looking, looking at film and looking at the World. (Chris Welsby)

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THE NATURE OF OUR LOOKING
Friday 9 November 2007, at 8:40pm
London BFI Southbank NFT2

LOOKING AT THE SEA
Peter Hutton, USA, 2001, 16mm, b/w, silent, 15 min
Most people go to films to get some kind of hit, come kind of overwhelming experience, whether it’s like an amusement park ride or an ideological, informational hit that gives you a critical insight into an issue or an idea. But for those few people who feel they need a reprieve occasionally, who want to cleanse the palate a bit, whether for spiritual or physiological regions, these films seem to be somewhat effective. (Peter Hutton, interviewed by Scott MacDonald in “A Critical Cinema 3”)

WHAT THE WATER SAID NOS 4-6
David Gatten, USA, 2006, 16mm, colour, sound, 17 min
What the water said is literally inscribed on the strips of unexposed celluloid that Gatten cast into the Atlantic Ocean off the coast of South Carolina. Encased in crab traps, the fragmented filmstrips harbour mystical messages from the underwater world, a source of seemingly never-ending fascination. The sea, its salt, sand and rocks, and its gnawing creatures have created the film’s inimitable textured patterns and sounds, while passages from Western literature’s greatest sea odysseys – from “The Life and Adventures of Robinson Crusoe” to “Moby Dick” – remind us of the sea’s singular place in our imagination. (Toronto International Film Festival)
www.davidgattenfilm.com

LAKE (NOCTURNE)
Lucy Reynolds, UK, 2007, 16mm, b/w, silent, 12 min
Lake (nocturne) is a study of the interplay of artificial light with the changing patterns and movements in nature, exploring the illuminations and obfuscations that occur in landscape after dark. The shadowy forms of landscaped lake and parkland also resonate with past narratives of the pleasure garden, recalling the original meaning of nocturne as a term for music composed to be performed at night-time, as accompaniment to the illuminated tableaux, spectacles and fétes of grand gardens, evoking a lost domain. (Lucy Reynolds)

REDSHIFT
Emily Richardson, UK, 2001, 16mm, colour, sound, 4 min
In astronomical terminology ‘redshift’ is a term used in calculating the distance of stars from the earth, hence determining their age. Redshift attempts to show the huge geometry of the night sky and give an altered perspective of the landscape, using long exposures, fixed camera positions, long shots and time-lapse animation techniques to reveal aspects of the night that are invisible to the naked eye. It takes these formal concerns into an emotional realm and uses the figurative to express philosophical ideas about our relationship to the world. The film has a gentle intensity to it, and is composed of changes of light across the sea, sky and mountains. It shows movement where there is apparent stillness, whether in the formation of weather patterns, movement of stars, the illumination of a building by passing car headlights or boats darting back and forth across the sea’s horizon. The sound has been composed for the film by Benedict Drew, taking field recordings of the aurora borealis as a starting point, and using purely computer generated sound to create a soundtrack that reflects the unheard elements present in the Earth’s atmosphere. (LUX)
www.emilyrichardson.org.uk

OBSERVANDO EL CIELO
Jeanne Liotta, USA, 2007, 16mm, b/w & colour, sound, 17 min
I refer to my films of the night sky as “16mm celestial field recordings” to reinforce their non-fiction status … This work is not metaphor but document. Even that light which travelled so far and so long to reach us makes its mark directly upon the emulsion … The subject of my work is perception itself, though it is variously manifested through attention to landscape, pure abstraction, the body in space, cinema itself, or, in Observando El Cielo, with systems such as Science. This extends into the found film and historical/educational footage, as testimonials to the limits of our understanding at any given time. The world itself is something we find, over and over again, and interpret it each time in a different way. (Jeanne Liotta)
www.jeanneliotta.net

YOU DON’T BRING ME FLOWERS
Michael Robinson, USA, 2005, 16mm, colour, sound, 8 min
Viewed at its seams, a collection of National Geographic landscapes from the 1960s and 1970s conjures an obsolete romanticism currently peddled to propagate entitlement and individualism from sea to shining sea; the slideshow deforms into a bright white distress signal. (Michael Robinson)
www.poisonberries.net

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THE NATURE OF SYSTEMS
Saturday 10 November 2007, at 8:40pm
London BFI Southbank NFT2

STREAM LINE (DOCUMENTATION)
Chris Meigh-Andrews, UK, 1991, video, colour, sound, 6 min
I was particularly interested in issues relating to the relationship between technology and nature, and with notions of the ‘natural’ and the ‘artificial’ and to the idea of bringing aspects of landscape into a gallery space. I had conceived of the piece as one that would cross an entire gallery floor, encouraging visitors to cross the space, following the motion across the monitors. The bridge seemed an apt device, as it had both metaphorical and practical dimensions; it would serve as a viewing platform, provide a way of crossing the room and reinforce the landscape concept. (Chris Meigh-Andrews)
www.meigh-andrews.com

BIT-SCAPES 135.1_08
Davide Quagliola & Chiara Horn, UK, 2006, video, colour, sound, 3 min
Shot on location in Western Australia, Bit-Scapes explores digital reproduction and manipulation. Through the combination of natural landscape footage and computer-generated graphics, BitScapes investigates the ambiguity of photo-realism in the digital realm as location material processed with custom software creates a series of images that reinterpret the organic landscape structures. The result is a series of audiovisual compositions where natural elements seem to coexist harmoniously with the artificial in the creation of a new ‘digital biosphere’. (Davide Quagliola & Chiara Horn)
www.quayola.com

THE SOUND OF MICROCLIMATES
Semiconductor, UK, 2004, video, colour, sound, 8 min
The Sound of Microclimates reveals the sights and sounds of a series of unusual weather patterns in the Paris of today. Here, architecture has become interwoven with the natural processes of the geographical landscape. Set within the un-noticed moments in time, extreme microclimates are presented as the future in city accessories, revealing the unseen urban terrains of tomorrow. They exist as a series of weather observations that animate the evolution of the inanimate urban condition. (Semiconductor)
www.semiconductorfilms.com

SUBURBS OF THE VOID
Thomas Köner, Germany-Finland, 2004, video, colour, sound, 14 min
Köner used 2000 photographs for Suburbs of the Void. The visual material belongs to a traffic security camera. It transfers the pictures via the Internet, where Köner collected them and arranged them into a video. The town is situated in Northern Finland near the polar circle. Permafrost and darkness dominate the sight most time of the day. For Köner, the permanent cold is connected with a general slowing down leading to a sharpened attention. The soundtrack supports this aspect. Sometimes one can hear slight noises of playing children in the background. In front of the complete emptiness, these sounds must occur like memories, telescoping from the distance into the picture. (Holger Birkholz)
www.koener.de

TRAIN NO.8
Daniel Crooks, Australia, 2005, video, colour, sound, 6 min
In Train No. 8, Daniel Crooks uses his signature ‘timeslice’ technique to offer an unexpected ride through a London urban landscape. In his experiments, Crooks divides digital footage into segments of time; when reconstructed the segments offer a distorted version of reality where time, space and motion appear on the same plane. (FACT)
www.dlab.com.au

BIT-SCAPES 135.2_03
Davide Quagliola & Chiara Horn, UK, 2006, video, colour, sound, 3 min
See above

UNTITLED
Rachel Reupke, UK, 2006, video, colour, silent, 2 x 90 sec
Rachel Reupke bounces the background and foreground in her videos, propelling the viewer into different dimensions within the same space. The shots appear to have been recorded using a remote automated camera and are presented as brief clips, extracted from perhaps days of footage. Viewing these simple panoramas becomes an increasing complex experience as changes in atmospheric conditions affect the camera, the auto focus shifts and the weather closes in. (Danielle Arnaud Gallery)

VOILIERS ET COQUELICOTS
Rose Lowder, France, 2002, 16mm, colour, silent, 3 min
Little is necessary for everything to appear differently. The date, the hour, the weather, the space’s layout, one’s glance or presence of mind … can make everything change. The boats sail out of the Vieux port in Marseilles to be amongst the poppy fields. (Rose Lowder)

BIT-SCAPES 135.7_13
Davide Quagliola & Chiara Horn, UK, 2006, video, colour, sound, 3 min
See above

AS WE ALL KNOW
Alix Poscharsky, UK-Germany, 2006, 16mm, colour, sound, 8 min
This film is a six-hour time-lapse sun track, shot around sunset. With the sun locked in the middle, the earth appears to be moving from left to right across the frame (or around the sun). Referencing science fiction, this film is about the discrepancy between a scientific world-view and everyday life. As we all know, the earth is moving round the sun, but the sun appears to be moving round the earth. (Alix Poscharsky)
www.elusivetuesday.com

The following works are showing in the BFI Foyer

GLENLANDIA (excerpt)
Susan Collins, UK, 2005-07, online, colour, silent, 2 years
Glenlandia is intended to be viewed full screen and updated live to your computer in real time. Now offline, this version is compiled from the archive of images providing continuous documentation to give an impression of how the work appeared live. From September 2005 to September 2007 a webcam transmitted images of Loch Faskally, Perthshire, Scotland from the FRS Research laboratory, Faskally. The webcam harvested images pixel by pixel, second by second, day by day over the course of the two years. Each image was collected from top to bottom and left to right in horizontal bands continuously, marking visible fluctuations in light and movement throughout the day and being archived at two-hour intervals. Although this appears to be a quintessentially natural Scottish landscape, Loch Faskally is in fact man made. It was created behind the hydro dam at Pitlochry which was built in 1947-50 as part of the North of Scotland Hydro-Electric Board’s Tummel/Garry Power Scheme. (Susan Collins)
www.susan-collins.net

TREE STUDIES
Chris Welsby, Canada, 2006, 3 channel video installation, colour, sound, continuous
Documentation of a three-screen, weather-driven installation made for the Gwangju Biennale, South Korea, 2006. Combining the speed and versatility of modern technology with the strength and spiritual significance of the tree, this installation suggests an environmental model where technology can work collaboratively with natural forces. The installation uses modern high speed communication systems combined with customized software and computer technologies to harness the energy produced by the rotation and tilt of the planet and transformed that energy into an open, self regulating and interconnected system. The system monitors weather data from three different continents and uses this real-time information to edit three files of pre-recorded movie footage of a tree seen against the background of a stormy winter sky. The combinations of imagery and sound generated in real time is unique at any given moment and is part of a continuously evolving process fuelled by the operating system’s interaction with the planetary weather system. In the sciences, this generation of image and sound is often described as an “emergent” property, a term used to describe self-organization in all living systems and on a planetary scale this is recognized as the dynamic origin of biological life, cognition and evolution. Drawing on the ancient concept of the earth as a living system, combining the traditional Eastern concept of Yin and Yang and systems theory from contemporary science the work suggests a new post Romantic form of landscape art with relevance to the issues of our own times. (Chris Welsby)
www.sfu.ca/~welsby

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