{"id":1250,"date":"2001-11-12T21:00:42","date_gmt":"2001-11-12T21:00:42","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=1250"},"modified":"2018-01-25T15:01:25","modified_gmt":"2018-01-25T15:01:25","slug":"modern-meditations","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2001\/11\/12\/modern-meditations\/","title":{"rendered":"Modern Meditations"},"content":{"rendered":"<p><a name=\"top\"><\/a><\/p>\n<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><b>MODERN MEDITATIONS<br \/>\nMonday 12 November 2001, at 9pm<br \/>\nLondon National Film Theatre NFT3<\/b><\/p>\n<p>Amid the constantly accelerated media milieu of the modern word, it is fortunately still possible to discover works that demand quiet contemplation, as demonstrated by this selection of predominantly abstract recent film and video. Myriam Bessette, a member of Montr\u00e9al new media collective Perte-De-Signal, presents a study of the organic aspect of the electronic signal transmission. <i>Bardo<\/i> by luminary innovator Jordan Belson draws on imagery from his mesmerising and cosmic films of the past. Acting on his instruction, this new work was edited on digital video by his assistant Ying Tan and continues his life-long journey into the transcendent potential of abstraction. While contemplating the \u201cdictatorship of meaning\u201d, <i>Envers<\/i> provides further proof of Patrice Kirchofer\u2019s command of photography and processing as glimpses of exquisite images briefly emerge from a body of darkness. By applying simple algorithms to visual noise, Bart Vegter created the \u201ccellular automatons\u201d which provide the basis of <i>Forest-Views<\/i>. The work oscillates between kaleidoscopic colour modulation and the fragile computer generated \u2018chemical\u2019 structures that pervade this remarkable film. Joel Schlemowitz offers an homage to colour, set to a poem by Wanda Phipps. <i>Lovesong<\/i> furthers Brakhage\u2019s exposition of light. Through step-printing and painted filmstrips, he interweaves elaborate biological forms and representations. The final two films both demonstrate a visible admiration for his work; \u201cAnodyne\u201d is a gentle and timeless, melancholic reading, while <i>Notre Icare<\/i> creates a more contemporary, dynamic impression using music by Autechre.<\/p>\n<p><b>Myriam Bessette, Nutation, Canada, 2000, 3 min<br \/>\nJordan Belson, Bardo, USA, 2000, 20 min<br \/>\nPatrice Kirchhofer, Envers, France, 2001, 20 min<br \/>\nBart Vegter, Forest-Views, Netherlands, 1999, 14 min<br \/>\nStan Brakhage, Lovesong, USA, 2001, 7 min<br \/>\nJoel Schlemowitz, Morning Poem #40, USA, 2001, 2 min<br \/>\nSheri Wills, Anodyne, USA, 2001, 4 min<br \/>\nJohanna Vaude, Notre Icare, France, 2001, 8 min<\/b><\/p>\n<p><i>Also screening: Wednesday 14 November 2001, at 1:30pm, NFT3<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[47],"tags":[9],"class_list":["post-1250","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2001","tag-london-film-festival"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1250","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=1250"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1250\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1250"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1250"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1250"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}